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LIBRARY 

OF  THE 

University  of  California. 

Mrs.  SARAH  P.  WALSWORTH. 

Received  October,  1894, 
zAccessions  No,S7/ /^  -      Class  No. 


Digitized  by  tine  Internet  Arcinive 

in  2007  witin  funding  from 

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FIRST  BOOK 


nr 


COMPOSITION, 


FOR  THE  USE  OF  SCHOOLS. 


ON    AN    ENTIRELY    NEW    PLAN 


^^  Of  r 

BY    F.  BR0  0KFIE||||fI73| 


NEW  YORK 


^-TFC 


A.  S.  BARNES   &   CO.,   51    &   63  JOHN-STREET. 

CIM0INNAT1:-H.  W.  DEEBY. 

OmOAGO  :    D.  B.  COOKE  &  00. — ST.  LOUIS  *.   L.  &  A.  CARK. 

BALTIMOEK.:    J.  W.  BOND  &  00. 

1S56. 


PUBLISHED   BY  A.  S.  BARNES  &  CO. 


ORTHOGRAPHY. 

PRICE'S  SPELLING-BOOK. 

WEIGHT'S  ANALYTICAL  ORTHOGRAPHY. 

MARTIN'S  ORTHOEPIST. 

NORTHEND'S  DICTATION  EXERCISES. 

READING. 

PARKER'S  SERIES  OF  READERS. 
HIGH  SCHOOL  LITERATURE. 
BOYD'S  ENGLISH  POETS. 
NORTHEND'S  SPEAKERS.    S'7  /  f  ^ 
ZACHOS'  NEW  AMERICAN  SPEAKER. 

COMPOSITION,  ENGLISH  GRAMMAR,  RHETORIC  AND  CRITICISM. 

BROOKFIELD'S  FIRST  LESSONS  IN  COMPOSITION. 

CLARK'S  ENGLISH  GRAMMAR. 

WELCH'S  ANALYSIS  OF  THE  ENGLISH  SENTENCE. 

DAY'S  ART  OF  RHETORIC. 

KAMES'  ELEMENTS  OF  CRITICISM. 

HISTORY,  GEOGRAPHY,  AND  MYTHOLOGY. 

WILLARD'S  HISTORY  OF  THE  UNITED  STATES. 
WILLARD'S  UNIVERSAL  HISTORY. 
MONTEITH'S  FIRST  LESSONS  IN  GEOGRAPHY. 
MONTEITH'S  YOUTH'S  MANUAL   OF  GEOGRAPHY. 
McN ALLY'S  SYSTEM  OF  GEOGRAPHY. 
DWIGHT'S  GRECIAN  AND  ROMAN  MYTHOLOGY. 

THE  SCIENCES. 

DAVIES'  COURSE  OF  MATHEMATICS.     18  vols. 

BARTLETT'S  COURSE  OF  NATUI^L  PHILOSOPHY.    3  vola. 

PARKER'S  SCHOOL  PHILOSOPHIES. 

CHURCH'S  CALCULUS  AND  ANALYTICAL  GEOMETRY. 

FULTON  &  EASTMAN'S  BOOK-KEEPING. 

GILLESPIE  ON  ROADS  AND  RAIL-ROADS. 

Entered  according  to  Act  of  Congress,  in  the  year  1855, 

By  A.  S.  BARNES  &  CO. 

In  the  Clerk's  OHice  of  tlie  Disirict  «Jr,urf  fV>r  the  Southern  Disii  ic;  ..r  Xow-York, 


TJiri7BESIT- 


PREFACE. 


It  is  believed,  tliat  nothing  like  this  little  book, 
either  in  design  or  arrangement,  has  ever  been  issued 
from  the  press.  All  other  elementary  works  in  this 
department,  proceed  upon  a  plan  so  different  from  the 
one  herein  proposed,  that  the  author  cannot  be  said  to 
have  trespassed  upon  ground  already  occupied. 

While,  in  other  branches  of  education,  the  idea 
of  gradual  progress  has  been  recognized  and  carried 
out,  in  this,  which  more  than  any  demands  the  most 
careful  application  of  the  idea,  it  seems  to  have  been 
entirely  overlooked. 

The  method  ordinarily  pursued,  is  one  in  which 
exercises  in  Grammar,  and  in  all  the  various  qualities 
of  style,  ending  with  essays  and  argumentative  dis- 
courses fit  only  for  the  maturest  reason,  follow  each 
other  in  a  succession  far  more  rapid  than  any  progress 


PREFACE. 


possible  to  the  child,  even  with  the  most  judicious 
training. 

Under  this  system,  which  is  made  to  cover  the 
department  of  composition,  the  pupil  is  frequently 
compelled  to  write  upon  subjects  utterly  beyond  him, 
— subjects  upon  which  to  write  respectably,  or  even 
to  write  at  all,  requires  often  the  closest  exercise  of 
reason,  or  the  profoundest  experience  of  life.  At  the 
same  time,  choice  specimens  of  style,  selected  from 
distinguished  authors,  are  set  before  him ;  which  style 
he  must  endeavor  to  imitate  in  his  composition. 

Whoever  thus  takes  the  child  beyond  the  limits  of 
his  own  experience  and  mental  development,  practi- 
cally ignores  the  great  trj^th,  that  style  is  something 
which  must  grow  with  the  growth,  and  strengthen 
with  the  strength ;  as,  one  after  another,  the  faculties 
become  developed  and  duly  balanced.  They  also  lose 
sight  of  the  fact,  that  the  models  thus  held  up  for 
imitation,  have  been  carefully  moulded,  by  minds  of 
no  ordinary  power,  in  the  light  of  a  severely  trained 
and  fully  developed  intellect. 

Composition  thus  becomes  to  the  child,  not  an  ex- 


PREFACE. 


pression  of  his  thoughts,  but  an  indefinable,  dreadful 
something,  which  is  to  be  somehow  manufactured  out 
of  nothing,  by  a  given  time.  What  wonder  is  it  that 
he  grows  disheartened,  or  that  his  style,  if  he  ever 
form  what  may  be  called  a  style,  is  factitious,  empty, 
worse  than  worthless ! 

This  little  work  is  an  attempt  to  furnish  a  text-book 
in  this  department,  adapted  to  the  wants  of  beginners. 

It  proceeds  upon  the  supposition  that  the  pupil 
needs,  not  so  much  instruction  in  the  expression  of 
Thought,  as  an  aid  to  Thought  itself. 

It  aims,  therefore,  to  cultivate  the  practical  powers 
of  observation ;  in  other  words,  to  develop  Thought  in 
relation  to  Perception ;  and  also  to  give  to  the  young 
pupil,  in  the  exercise  of  this  faculty,  the  kind  of  aid 
already  afforded  to  older  pupils,  by  analyses  and  out- 
lines of  more  difficult  subjects. 

It  is  the  belief  of  the  author,  that  the  child  can 
hardly  receive  too  much  assistance  at  the  outset  of 
this,  to  him,  difficult  task  of  composition. 

Subjects,  therefore,  have  been  selected,  upon  which 
the  thoughts  of  all  children  exercise  themselves  spon- 


PREFACE. 


taneously ;  and  an  outline  of  each  given  in  the  form 
of  a  series  of  questions.  This  form  has  been  chosen, 
upon  the  principle,  that  in  answering  a  question,  the 
mind  is  forced  to  take  an  attitude  of  the  highest  pos- 
sible activity.  It  also  possesses  the  advantage  of 
leading  the  child  to  express  his  thoughts  in  writing, 
in  the  same  manner  as  in  conversation.  Annexed  to 
each  outline  are  additional  suggestions,  or  special 
hints  to  the  pupil,  designed  to  bring  the  subject  more 
distinctly  before  his  mind,  and  to  render  him  all  the 
assistance  he  may  require. 

Care  has  been  taken  to  graduate  these  subjects,  in 
such  a  manner  as  to  lead  the  child,  insensibly,  from 
descriptions  of  simple  objects,  to  the  highest  exercise 
of  the  descriptive  faculty.  It  has  been  the  aim  of  the 
author  to  lead  him,  so  far  as  he  is  capable  of  being 
led,  to  look  upon  the  varied  scenes  of  nature  with 
something  of  an  artist's  eye;  to  trace  the  feeling  of 
pleasure  with  which  he  views  a  beautiful  landscape,  to 
its  true  sources ;  in  other  words,  to  teach  him  to 
become  an  intelligent  observer. 

To  lead  the  child  to  Nature  as  to  an  ever-living 


PREFACE. 


source  of  Thought ;  to  awaken  and  cultivate  his  Per- 
ceptions ;  to  teach  him  to  express  those  perceptions, 
not  in  the  style  of  a  Scott  or  an  Irving,  but  in  his  own 
simple  and  often  beautiful  language,  is  then  the  object 
of  this  work. 

The  author  hopes  it  may  not  be  altogether  in  vain, 
but  that  it  may  save  some  hours  of  fruitless  effort  to 
the  child,  and  also,  in  some  degree,  relieve  the  labors 
of  the  teacher. 


CONTENTS. 


Preface •  5 

To  THB  Teacher 15 

LESSON  I. 

Composition 11 

LESSON  II. 

Description      .        .                         ....  20 


SUBJECTS. 

DIVISION  I, 

No.  1.  My  Kitten 26 

2.  Dandelions 28 

3.  Doves 80 

4.  Mice 82 

6.  "Our  Dog" 84 

6.  Rabbits 86 

7.  Squirrels 88 

8.  Acorns 40 

9.  Butterflies 42 

10.  Bees .  44 

11.  Strawberries 46 


12 


CONTENTS. 


No.  12.  Ants 

13.  Frogs 

14.  Flies     . 

15.  Bird's-nests 

16.  Chestnuts 

17.  Katy-dids  . 

18.  Apple-treks 

19.  Rain  . 

20.  Frost    . 

21.  Snow- 

22.  Ice 

23.  Night 

24.  Morning 

25.  Trees 

26.  Flowers 


DIVISION  II 
No.  1.  Autumn  Leaves 

2.  Moss 

3.  Wild-flowers    . 

4.  Roses    . 

5.  Water-lilies 

6.  Recess  . 

7.  Blind-man's  Buff 

8.  A  Pic-Nic 

9.  A  Sleigh-ride  . 

10.  A  Mknagerib 

11.  A  Fair      . 

12.  Thanksgiving 


48 
50 
52 
54 

56 

58 
60 
62 
64 

68 
70 
72 
74 
76 


80 
82 
84 
86 
88 
90 
92 
94 
96 
98 
100 
102 


CONTENTS.  13 


18.  Fourth  of  July 104 

14.  Christmas 106 

DIVISION   III. 

No.  1.  A  Mountain      .         .         .         .         .         .110 

2.  A  Brook        .         .         .         .         .         .         .  112 

3.  A  Waterfall 114 

4.  A  Spring 116 

5.  A  Moonlight  Scene  .         .         .         .118 

6.  A^^rnUNDER-STORM 120 

1.  A  Snow-Storm 122 

8.  An  Aurora  Borealis 124 

9.  A  Sunrise  ......       126 

10.  A_SuNSET 128 

Conclusion 130 


'UiriVBESITY: 
TO    THE~  TEACHER 


One  of  the  greatest  difficulties  to  a  child,  in  the 
way  of  composition,  lies  in  his  inability  to  conceive  of 
a  subject  within  definite  limits. 

This  book  meets  the  difficulty,  by  setting  before 
him,  under  each  subject,  a  series  of  definite  thoughts ; 
each  of  which  he  is  to  develop  by  itself,  and  then 
arrange  >vith  other  thoughts,  in  the  form  of  a  com- 
position. 

Yet,  notwithstanding  every  aid  affi)rded  to  the 
young  pupil,  the  mere  manual  labor  of  writing,  with 
his  unpractised  hand,  in  connection  with  the  necessary 
effi)i*t  of  mind,  will  alwavs  render  this  exercise  more 
or  less  difficult  to  him. 

There  is  therefore  danger  of  discouraging  the  child 
at  the  outset,  by  requiring  from  him  too  much  at  a 
time. 


16  -TO  THE  TEACHER. 


To  avoid  this  danger,  the  author  would  suggest  the 
propriety  of  dividing  the  task  for  the  very  young 
pupil,  by  giving  him,  according  to  his  capacity,  one  or 
two  questions  a  day,  to  answer  as  fully  as  he  can.  By 
writing  these  answers  upon  separate  slips  of  paper,  he 
can  keep  them,  and  at  the  end  of  the  week,  as  another 
exercise,  arrange  and  copy  them,  under  the  super- 
vision of  the  teacher. 

The  task  will  thus  be  a  comparatively  easy  one,  and 
the  composition  far  better,  than  if  hurried  through  at 
any  one  time. 

The  daily  exercises  also,  will  soon  give  the  pupil  a 
facility  in  composition,  which,  under  any  other  mode, 
it  would  take  him  a  long  time  to  acquire. 

While  these  subjects  thus  adapt  themselves  in  their 
simplicity  to  the  capacity  of  the  j^oungest,  they  afford 
also  abundant  scope  for  the  mind  of  the  more  ad- 
vanced pupil.  He  should,  however,  be  made  to 
remember  that,  in  one  respect,  oldest  and  youngest 
are  here  upon  common  ground^ — one  knows  no  more 
than  the  other,  except  as  he  observes  more.  The  teacher 
should  make  this  the  sole  standard  of  excellence. 


FIRST  BOOK  IN  COMPOSITION. 


LESSON    I. 

COMPOSITION. 

What  is  tlie  term  "Composition"  derived  from? 
A.  It  is  derived  from  two  Latin  words,  whicli  signify  "to 
put  together!'^ 

What  is  "  composition"  tlien  ? 
A.  It  is  "  a  putting  together.^'' 

Can  we  speak  of  tlie  "composition"  of  a  substance,  like 
jpaste^  or  varnish  f 
A'.  We  can. 

What  do  we  mean  by  it? 

A.  We  mean  "  the  putting  together'^  of  the  materials  of  wbicb 
the  substance  is  made  up.  ^ 

When  we  speak  of  the  "  composition"  of  a  mineral^  what 
da  we  mean  ? 

A,  We  mean  "the  putting  together"  of  the  particles  of 
which  the  mineral  is  made  up. 


18  FIRST  BOOK  IN  COMPOSIIION. 

When  we  speak  of  the  "composition"  of  2i, picture^  what  do 
we  mean  ? 

A.  We  mean  "  the  putting  together'''  of  the  different  objects 
Arhich  make  up  the  picture ;  as,  a  mountain,  trees,  a  river,  &c. 

When  we  speak  of  a  "  composition"  on  any  subject,  what  do 
we  mean  ? 

A,  We  mean  "  a  putting  together'^  of  the  thoughts  which 
belong  to  the  subject. 

Suppose  jou  were   to  write   "  Grrass  is   green ;''    "  Birds 
sing ;"  "John  is  blind :"  would  that  be  "  composition  ?" 
A.  It  would  not. 

Why? 

A.  Because  the  thoughts  are  not  connected  with  each  other, 
nor  with  a  subject. 

Suppose  you  take  for  your  subject,    "J.  Uind  hoy  f  and 

^^te,   "  John  is  blind ;    he   cannot   see   that  the  grass  is 

green,  but  he  can  hear  the  birds  sing:"  is  that  "composition?" 

A.  It  is. 

Why? 

A.  Because  the  three  thoughts,  "John  is  blind,"  "Grrass  is 
green,"  "  Birds  sing,"  are  connected  with  each  other,  and  with 
the  subject,  "A  blind  boy." 

How,  then,  can  thoughts  which  are  independent  of  each 
other,  often  be  united  ? 


FIRST 

BOOK   IN  COMPOSITION. 

19 

A,  By  introducing 

another  thought  which  will  connect 

them. 

♦ 

Give  an  example. 

A,  In  the  example, 

"John  is  blind;  he  cannot 

see  that  the 

grass  is  green,  but  he  can  hear  the  birds  sing, 

"—the  two 

thoughts,  "he  cannot 

see,"  "but  he  can  hear," 

connect  the 

three  independent  thoughts,    "John   is  blind," 

"  Grass  is 

green,"  "Birds  sing." 

Are  there  not  many  thoughts  belonging  to 

every  sub- 

ject  ? 

A.  There  are. 

How  should  these  be  "  put  together  ?" 

A.  They  should  be 

so  ^^jput  together j^^  that  they 

will  appear 

to  follow  each  other  in  a  natural  order. 

In  what,  then,  does 

"composition"  consist? 

A.  It  consists  in   " 

putting  together,"  in  a  natural  order,    | 

thoughts  belonging  to 

a  subject. 

1 

LESSON    II 


DESCRIPTION. 


"WTiat  has  "Composition"  been  defined  to  be? 
A,  Composition  has  been  defined  to  be  "a  ^putting  together'^ 
of  thoughts  under  a  subject. 

Are  there  not  many  kinds  of  composition  ? 
A.  There  are. 

"What  is  the  first  principal  kind  of  composition  ? 

A.  "  Description"  is  the  first  principal  kind  of  composition. 

What  is  "  description  ?" 

A.  It  is  "a  putting  together'''  of  our  impressions  of  any 
object  or  scene. 

Why  is  this  called  the  first  kind  of  composition  ? 
A,  Because  it  relates  to  that  which  we  see,  and  that  ^hich 
we  see^  lies  at  the  beginning  of  Thought. 

How,  only,  can  we  learn  to  describe  well  ? 
A.  By  studying  attentively,  the  object  or  scene  which  we 
wish  to  describe. 


FIRST  BOOK  IN   COMPOSITION.  21 

What  is  necessary  to  a  good  description  ? 
A.  That  those  particulars  be  given,  in  which  the  object  oi 
scene  differs  from  other  objects  or  scenes. 

If  I  were  to  ask  you  to  describe  your  kitten,  and  you 
should  say,  "It  has  whiskers,  four  legs,  and  a  tail,"  would 
that  be  a  good  description  ? 

A.  It  would  not. 

Why  not? 

A,  Because  it  mentions  only  things  which  are  common  to 
all  kittens,  and  does  not  describe  any  particular  one. 

Suppose  you  were  to  say  instead,  "  It  has  glossy  black  fur, 
a  white  diamond  between  its  eyes,  and  one  white  whisker," 
would  that  be  a  good  description  ? 

A.  It  would  be.  . 

Why?  ^ 

A,  Because  it  describes  particulars  which  distinguish  the 
kitten  from  other  kittens. 

Do  not  such  particulars  enable  us  to  distinguish  objects  of 
the  same  kind  from  each  other  ? 
A,  They  do. 

Could  not  a  dog  be  distinguished  among  a  hundred  others, 
by  one  who  was  familiar  with  it  ? 
A,  It  could 


22*  FIRST  BOOK  IN  COMPOSITION. 


What,  then,  is  a  good  rule  for  describing  an  object? 

A.  To  give  those  particulars  by  which  we  know  it  from 
other  objects  of  the  same  kind. 

What  is  a  scene  f 

A.  A  scene  is  a  combination  of  objects. 

How,  then,  should  a  scene  be  described  ? 
A.  By  giving  those  particulars,  in  the  objects  and  their 
arrangement^  by  which  it  is  distinguished  from  other  scenes. 


A 


-:'\ 


SUBJECTS. 


DIRECTIONS   TO    THE  PUPIL. 


SUBJECT    NO.     1. 

You  may  take  the  subject  which  you  will  find  upon  the 
following  page,  and  write  your  own  answers  to  the  questions. 

Take  each  question  by  itself,  and  do  your  best  to  answer  it 
fiilly ;  using  the  same  language  as  in  speaking. 

When  you  have  done  this,  join  these  answers  together  into 
correct  sentences. 

Your  composition  will  then  be  done,  all  except  copying. 

In  copying,  the  principal  things  to  remember  are  these : 

To  WRITE  NEATLY, 

To  SPELL  CORRECTLY,  AND 

To  BEGIN  EVERY  NEW  SENTENCE  WITH  A  CAPITAL  LETTER. 

If  you  attend  to  these  directions,  your  composition,  when 
ready  to  hand  to  your  teacher,  will  be  somewhat  like  the 
example  given  upon  the  page  opposite  the  questions ;  though, 
of  course,  not  exactly  like  it,  because  the  kitten  you  describe 
will  not  be  exactly  like  the  one  described  there. 


26  FIRST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    1. 

MY   KITTEN. 

1.  Have  you  a  kitten  ? 

2.  What  is  its  color  ? 

3.  What  kind  of  a  disposition  has  it  ? 

4.  Does  it  Uke  to  be  petted  ? 

5.  When  you  take  it  up  kindly,  what  will  it  do  ? 

6.  If  you  hold  it  still  for  a  while,  will  it  go  to  sleep  ? 

7.  How  does  it  fix  itself  when  it  goes  to  sleep  ? 

8.  How  long  will  it  sleep  ? 

9.  Is  it  a  frolicsome  kitten  when  it  is  awake  ? 

10.  What  will  it  do  with  things  it  finds  on  the  floor  ? 

11.  Does  it  sometimes  do  mischief,  in  its  firolics  ? 

12.  Is  it  old  enough  to  catch  mice  yet  ? 

13.  What  does  it  do  when  it  hears  a  scratching  or  nibbhng 
sound  ? 

14.  Do  you  think  it  will  make  a  good  mouser  ? 


An  Example  is  given  upon  the  opposite  page,  to  illustrate  the  manner 
in  which  a  composition  may  be  written  with  the  aid  of  questions. 

The  marks  of  division  are  to  show  how  every  question  is  answered  in 
the  Example. 


FIKST  BOOK  IN  COMPOSITION.  27 

EXAMPLE.       ;,  JHIVE.^ 

MY    KITTEN. ^^^4£22^^ 
^  ^a/ve/  a  c^saP  ^^/^  A^^^^  I  (§f^  co^oP  4d  c^a/d 
a^ia^j  a^eaxx^  y^ue/  -/^  oj^  ^  -^zU  a^na  ane/  /la^j  ^umicn 
a^e/  ^uiA{^e/    (§r^  'nod    a   ^^em    aen4^   {/id/iod^^Mnj    one/ 

Ai^t/^j  ^f  Aeaind  /o  Aau,  ana  ^  /ty  /o  'UcA  ^iiP  'nana 
^Un    ^   'U^^  muaA  '^naae/    @/^  ^^   no^  ^  d/n^ 
/oP  a  aiini^j  ^  w^U  /c^  ^    Aa^ukfj   ana    caU    ^de^ 
€^/l  ^?t/o  a  mana    A^i^  ana    ^laiu   d^/i   do  j^i^  naie^j 
^€^mau/  d/mina.    (§r^   id    a    m^^M,    j^oyu'cdome/    -uU^ 
AM&n/    ^ume^    ^  Id    aoMzAej    ana   wM^  ciU  au   do^ 
ojL    coAe^    ^t£iim     /i€€C€d    cjL     /laAe^j    oP    an^   ^mina   ^ 
Zmad  o^  Me/  ASe^j    ana    d(P??t€/mt€d  ^  aoed  midcnief 
4dt/  Mede/  //eo^tcdj    -^^.    (g^  id  ncU  cm  enaaan    ^uet  /o 
ca/cn  mice/    A-ii/^  ^  an^u/iJucd  i/A  i^  eaM,  ana  'UioA  4^e^ 
/le^cej    /utAen^    ^  'nea^    a    dauna    'uAe/    dc^a^:}ui^    oP 
nM^Una.    (§r   Mi/iA  do^9?te/   cA7/u  U  aitiu   Ae^  a   /amend 
maude^. 


28  FIRST   BOOK  IN   COMPOSITION. 


SUBJECT    NO.    2. 

DANDELIONS. 

1.  What  colored  flowers  are  dandelions? 

2.  Wlien  do  tHey  blossom? 

3.  Where  do  they  grow  ? 

4.  When  the  snow  has  melted  away,  and  the  green  grass 
springs  up,  what  do  we  see  peeping  out  everywhere  ? 

5.  Is  not  every  one  delighted  to  see  them  then  ? 

6.  Do  not  children  like  to  gather  them? 

7.  May  they  pick  as  many  as  they  please  ? 

8.  Why  do  people  not  care  to  preserve  them  ? 

9.  Are  they  not  as  beautiful  as  many  garden  flowers  ? 

10.  Do  you  not  think  God  is  very  good,  to  make  beautiful 
things  so  coromon? 


FIRST  BOOK  IN   COMPOSITION. 


TO    THE  PUPIL 


SUBJECT    NO.    2 


These  questions  are  given  to  aid  you  in  expressing  your 
own  thouglits  and  feelings. 

In  writing  your  composition  upon  this  subject,  therefore, 
you  must  think  of  the  bright  yellow  dandelions ;  how  beau- 
tiful they  look  just  after  the  snow  has  melted  away,  springing 
up  in  the  green  grass  by  the  roadside,  and  in  the  fields,  in 
yards,  and  in  gardens, — so  many,  that  you  could  not  count 
them  all,  nor  gather  them,  if  you  were  to  work  all  day.  You 
must  think,  too,  of  the  pleasure  it  gives  you  to  see  them,  and 
to  gather  them.  If  you  do  this,  you  will  find  plenty  to  say  in 
answer  to  these  questions.  You  may  mention,  by  name,  any 
garden  flowers  yoii  think  are  no  prettier  than  dandehons. 


30  FIRST  BOOK  IN  COMPOSITION. 


SUBJECT    NO.    3. 

DOVES, 

1.  Are  doves  tame  or  wild  creatures  ? 

2.  Do  tliey  build  nests  and  live  in  tlie  woods  ? 

3.  What  do  tliey  live  in  ? 

4.  What  color  is  most  common  among  them  ? 

5.  Are  they  not  of  many  different  colors  ? 

6.  Are  they  not  gentle,  pretty  creatures  ? 

7.  If  you  strew  crumbs  of  bread  upon  the  ground,  what 
will  they  do  ? 

8.  Is  it  not  a  pretty  sight  to  see  a  flock  of  them  picking 
up  crumbs? 

9.  When  they  see  Puss  coming,  does  it  frighten  them  ? 

10.  What  do  they  do? 

11.  What  would  the  cat  do  to  them,  if  they  did  not  fly 
away  ? 


FIRST  BOOK  IN  COMPOSITION. 


31 


TO    THE  PUPIL, 


SUBJECT    NO.    3 


In  answering  the  first  question,  you  can  consider  whether 
doves  are  as  tame  as  chicJcens  or  ducJcSj  or  even  hittens;  and 
why  you  could  not  call  them  wild^  like  birds  that  live  in  the 
woods. 

You  can  describe  the  houses  they  live  in,  and  where  they 
get  their  food ;  and,  if  you  strew  crumbs  for  them,  how  tim- 
idly they  will  come,  first  one  of  one  color,  and  then  one  of 
another.  You  can  mention  the  different  colors,  as  they  come, 
till  finally  the  whole  flock  is  collected ;  and  then,  how  hiLsily 
their  heads  go  bobbing  up  and  down,  picking  up  the  crumbs. 

You  can  describe,  too,  the  actions  of  old  Puss,  when  she 
comes  stealing  along,  ready  to  pounce  upon  them ;  and  the 
fright  of  the  poor  doves ;  what  they  do ;  and  finally,  the 
cruel  death  poor  dovey  would  suffer,  if  Puss  should  catch  it. 


82 


riRST  BOOK  IN  COMPOSITION. 


SUBJECT    NO.    4. 

MICE, 

1.  Are  not  mice  beautiful  little  creatures  ? 

2.  What  colored  fur  have  they  ? 
5.  Is  it  not  soft  as  velvet  ?^ 

4.  What  color  are  their  eyes  ? 

5.  Where  do  they  live  ? 

6.  Why  do  people  not  like  to  have  them  in  their  houses  ? 

7.  When  do  they  steal  things  out  of  the  pantry  ? 

8.  What  do  they  like  best  to  eat  ? 

9.  Do  people  sometimes  set  traps  for  them  ? 
-  10.  How  do  they  fi.^  the  trap  ? 

11.  How  does  the  mouse  get  caught  ? 

12.  What  else  catches  mice  ? 

13.  How  does  Puss  act  when  it  has  caught  a  mouse  ? 

14.  Are  not  children  often  afraid  of  mice,  when  they  hear 
them  in  the  night  ? 

15.  Is  it  not  foolish  to  be  afraid  of  such  little  creatures  ? 


FIRST  BOOK  IN   COMPOSITION. 


33 


TO    THE  PUPIL, 


SUBJECT    NO.    4 


Every  one  has  seen  a  mouse — a  dear  little  dark-gray  mouse 
— with  soft  fur,  and  little  frightened  eyes  sticking  out  of  its 
head  like  black  beads.  You  must  think  of  all  this  when  you 
write  about  them,  and  of  the  habits  of  the  little  creatures,  too : 
how  they  steal  things  out  of  the  pantry  in  the  night,  and 
always  take  the  best  they  can  find.  You  will,  perhaps,  have 
some  anecdote  to  relate  of  their  doings :  if  so,  you  can  intro- 
duce it  in  your  composition. 

You  can  describe  different  kinds  of  traps,  and  how  the 
mouse  gets  caught  in  them.  You  can  speak,  too,  of  mouse's 
great  enemy,  Puss :  how  she  sets  to  work  to  catch  the  poor 
little  thing,  and  how  she  torments  it  after  getting  it  into  her 
claws. 

You  can  describe,  too,  the  scratching  and  nibbling  of  mice 
in  the  night,  and  the  foolish  fear  children  have  of  them  some- 
times ;  and  you  can  give  the  reasons  why  they  could  not  hurt 
any  one. 


Wk 


^^  FIRST  BOOK  IN  COMPOSITION. 


SUBJECT    NO.    5. 

1.  Wliat  kind  of  a  dog  is  he  ? 

2.  Has  he  a  shaggy  or  a  smooth  coat  ? 

3.  What  is  his  color  ? 

4.  "What  is  his  name  ? 

5.  Why  was  he  so  named  ? 

6.  Is  he  an  intelligent  dog  ? 

7.  How  does  he  show  that  he  is  ? 

8.  What  tricks  does  he  know  ? 

9.  What  kind  of  a  disposition  has  he  ? 

10.  Is  he  fond  of  teasing  Puss  ? 

11.  How  do  they  act  towards  each  other  ? 

12.  What  kind  of  a  bark  has  he  ? 

13.  How  does  he  behave  towards  strangers  ? 
14.*  Is  he  a  -useful  dog  ? 

15.  In  what  way  does  he  make  himself  useful? 


FIRST  BOOK  IN  COMPOSITION.  35 


TO    TEE  PUPIL, 


SUBJECT    NO.    5. 

In  writing  upon  this  subject,  you  must  think  of  some  dog 
witli  which  you  are  familiar — either  your  own,  or  some  other 
one — and  describe  its  appearance  and  its  ways.  You  must 
remember  that  dogs  are  not  all  alike.  If  they  were,  you  could 
not  tell  them  apart ;  and  yet,  you  would  not  think  of  mis- 
taking one  dog  for  another,  any  more  than  you  would  of 
mistaking  one  hoy  for  another.  They  are  of  all  sorts,  sizes, 
and  colors — ^from  the  great  surly  mastiff,  down  to  the  little 
silken  lap-dog — and  each  of  these  has  a  way  and  look  of  its 
own^  by  which  it  may  be  known  from  other  dogs.  If  you 
will  think,  therefore,  of  some  particular  one,  you  will  find 
enough  to  say  in  answer  to  these  questions,  and  no  two  com- 
positions will  be  alike. 


B6  FIRST  BOOK  IN  COMPOSITION. 


SUBJECT    NO.    6. 

BABBITS. 

1.  Are  not  rabbits  pretty  creatures  for  pets  ? 

2.  Wliat  color  is  most  common  among  them  ? 
8.  Wliat  kind  of  eyes  and  ears  have  tbey  ? 

4.  Is  not  their  fur  very  long  and  soft  ? 
6.  What  is  it  sometimes  used  for  ? 

6.  Can  you  let  them  run  wild,  or  must  they  be  kept  in 
pen 

7.  Do  they  not  sometimes  contrive  to  get  out  of  the  pen  ? 

8.  How  do  they  do  this  ? 

9.  Is  it  not  hard  work  to  catch  them  ? 

10.  What  is  the  best  way  to  do  it  ? 

11.  What  do  rabbits  eat  ? 

12.  Is  it  not  a  pretty  sight  to  see  them  eating  any  thing  ? 
18.  How  do  they  manage  it  ? 

14.  Are  these  little  creatures  of  much  use  except  as  pets  ? 

15.  Do  people  not  sometimes  kill  and  eat  them  ? 

16.  Does  it  not  seem  cruel  to  kill  such  pretty  creatures  ? 


FIRST  BOOK  IN  COMPOSITION. 


37 


TO    THE  PUPIL. 

SUBJECT    NO.    6. 

There  is  as  much  variety  of  color  among  rabbits  as  among 
kittens.  You  may  describe  all  tbe  different  ones  you  have 
seen — ^white,  brown,  and  spotted ;  pink-eyed  and  black-eyed — 
and  say  which  you  like  best. 

You  may  speak,  too,  of  their  very  long  ears,  and  of  the  use 
of  these ;  and  also  of  their  eyes,  which  are  set  in  the  side  of 
the  head,  so  that  they  always  look  sideways;  and  give  a 
reascm  for  this,  if  you  can  think  of  any. 

You  may  describe  a  scene  of  "feeding  the  rabbits,"  and 
all  the  pretty  ways  of  these  timid  little  animals.  You  can 
also  relate  any  anecdotes  you  may  know  about  them,  and 
speak  finally  of  the  cruelty  of  killing  such  innocent,  pretty 
creatures. 


38  FIRST  BOOK  IN  COMPOSITION. 


SUBJECT    NO.    7. 

SQUIRRELS. 

1.  Where  do  squirrels  live  ? 

2.  Are  they  hot  nimble  little  creatures  ? 

3.  How  fast  do  they  run  ? 

4.  What  kind  of  tails  have  they  ? 
6.  What  do  they  live  upon  ? 

6.  How  do  they  prepare  for  winter  ?  « 

7.  What  kind  of  nuts  do  they  lay  up  ? 

8.  Where  do  they  store  them  ? 

9.  Would  they  not  starve  to  death  when  snow  comes,  if  it 
were  not  for  this  ? 

10.  Did  you  ever  see  a  squirrers  hole  ? 

11.  Where  was  it  ? 

12.  What  was  in  it? 

13.  How  does  the  squirrel  hold  the  nut  when  he  eats  it  ? 

14.  How  does  he  crack  it  ? 

15.  What  kind  of  teeth  has  he  ? 

16.  Do  people  sometimes  keep  them  in  cages  ? 

17.  What  kind  of  cages  are  they? 

18.  Is  it  not  too  bad  to  shut  them  up  so  ? 


FIRST  BOOK  IN  COMPOSITION.  39 


TO   THE  PUPIL. 


SUBJECT    NO.    7. 

If  you  have  ever  seen  these  little  creatures  in  the  woods, 
you  know  how  fast  they  run, — so  fast,  that  one  can  hardly 
catch  a  glimpse  of  them,  before  they  are  out  of  sight.  You 
can  speak  of  this,  in  your  own  way,  and  of  their  color,  size, 
and  their  large  bushy  tails. 

You  can  mention,  too,  the  reasons  why  the  farmer  does  not 
like  them,  and  name  the  various  things  they  steal  from  him, 
when  they  get  a  chance ;  and  you  can  describe  the  manner  in 
which  they  are  sometimes  caught  in  a  trap. 

You  can  also  give  a  particular  description  of  the  way  in 
which  "  Bunny"  holds  a  nut,  how  he  cracks  it,  and  of  all  his 
pretty  motions  in  eating  it. 

Kyou  have  seen  a  caged  squirrel,  you  can  describe  the  cage 
in  which  he  was  confined,  and  the  actions  of  the  poor  creature 
in  trying  to  free  himself. 


40  FIKST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    8. 


ACORN'S, 


1.  What  trees  do  acorns  grow  upon  ? 

2.  What  kind  of  a  taste  have  they  ? 

3.  Are  they  good  to.  eat  ? 

4.  Are  they  not  beautiful  to  look  at  ? 

5.  Do  they  grow  in  clusters,  or  singly  ? 

6.  Do  they  not  look  beautifally  among  the  oak-leaves  ? 
.  7.  What  color  and  shape  are  oak-leaves  ? 

8.  What  does  the  nut  part  of  the  acorn  grow  in  ? 

9.  Does  it  fall  out  of  this  cup  when  it  is  ripe  ? 

10.  Are  there  not  always  plenty  of  acorns  and  cups  to  be 
found  under  oak-trees  ? 

11.  Cannot  a  variety  of  pretty  things  be  made  out  of  them? 

12.  What  is  sometimes  done  with  them  ? 

13.  Is  not  the  oak  the  strongest  and  largest  of  forest-trees  ? 

14.  Is  it  not  wonderful  to  think  that  it  grows  up  from  such 
a  little  thing  as  an  acorn  ?  . 


FIKST  BOOK  IN   COMPOSITION.  41 


TO    THE   PUPIL, 

SUBJECT    NO.    8. 

There  are  many  kinds  of  acorns,  but  all  are  beautifal.  If 
you  liave  ever  examined  a  bunch,  of  them,  you  must  have 
admired  the  lovely  brown  clusters  hiding  away  among  the 
rich  green  leaves  of  the  oak.  Nothing  can  be  prettier,  except 
it  be  the  dark,  glossy  acorn  itself,  fitting  so  neatly  into  its 
brown  cup.  These  cups,  too,  are  beautiful ;  and  many  are 
the  pretty  articles  that  can  be  made  with  them,  as  children 
all  know.  You  can  mention  any  of  these  you  may  think  of, 
and  also  any  thing  else  which  the  questions  suggest.  Almost 
every  one  has  some  pleasant  association  with  oak-trees  and 
acorns.  Should  you  have  such  with  some  particular  oak-tree, 
give  a  description  of  its  situation,  and  of  any  pleasant  scenes 
connected  with  it. 


42  FIRST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    9 


BUTTERFLIES. 


1.  Do  not  butterflies  seem  to  be  the  happiest  creatures  in 
the  world  ? 

2.  Are  thej  not  always  out  in  the  sunshine  ? 
8.  Do  they  not  live  among  flowers  ? 

4.  Are  they  not  gay-looking  creatures  ? 

5.  What  color  is  most  common  among  them  ? 

6.  Are  they  not  of  a  great  variety  of  colors  ? 

7.  Are  they  not  very  delicate  creatures  ? 

8.  If  you  touch  them  with  your  finger,  what  happens  ?     • 

9.  Must  it  not  hurt  them  ? 

10.  Do  boys  like  to  chase  butterflies  ? 

11.  How  do  they  catch  them  ? 

12.  Are  they  ever  so  cruel  as  to  stick  pins  through  them  ? 
18.  What  do  they  do  this  for  ? 

14.  Would  it  not  be  better  to  let  them  live  and  enjoy  their 
life  among  the  flowers  ? 


FIRST  BOOK  IN   COMPOSITION.  43 


TO    THE  PUPIL, 

SUBJECT    Na.    9. 

You  can  speak  of  these  bright,  happy-looking  creatures, 
flitting  about  in  the  sunshine,  going  from  flower  to  flower — 
not  like  the  bee,  to  load  themsefves  with  honey,  but  seeming 
to  have  nothing  to  do  but  to  enjoy  existence — and  also  of 
their  brilliant  colors,  mentioning  all  the  varieties  you  have 
ever  seen,  from  the  gayest  to  the  most  sober  among  them. 

You  can  describe  the  manner  in  which  boys  sometimes 
catch  butterflies,  and  stick  pins  through  them,  in  order  to  see 
how  many  varieties  they  can  get,  and  speak  of  the  cruelty  of 
this.  Also,  if  you  know,  or  can  learn  any  facts  concerning  the 
natural  history  of  the  butterfly,  particularly  its  origin,  you 
can  introduce  these  into  your  composition. 


44  FIRST   BOOK   IN    COMPOSITION. 


SUBJECT    NO.     10 


BEES, 


1.  Are  not  bees  more  busy  creatares  than  butterflies  ? 

2.  What  are  they  all  the  time  doing? 

3.  Do  they  ever  seem  to  waste  a  moment  ? 

4.  Do  they  not  often  travel  a  great  distance  in  search  of 
honey  ? 

6.  Do  they  ever  get  discouraged  or  lazy  ? 

6.  Does  it  ever  happen  that  a  lazy  bee  gets  into  a  hive  ? 

7.  As  soon  as  he  is  found  out,  what  do  the  other  bees  do  ? 

8.  What  are  these  lazy  bees  called  ? 

9.  Are  they  very  much  hated  by  the  industrious  ones  ? 

10.  What  do  bees  line  their  hive  with  ? 

11.  Did  you  ever  see  a  honeycomb  ? 

12.  What  sort  of  a  thing  was  it  ? 

13.  Does  it  not  seem  wonderful  that  such  little  creatures 
can  make  them  ?  - 

14.  How  is  the  honey  taken  from  the  hive  ? 

15.  What  is  done  with  the  honeycombs  ? 


FIKST   B'OOK   IN    COMPOSITION. 


45 


TO    THE  PUPIL. 


SUBJECT    NO.    10. 

In  writing  upon  this  subject,  you  can  think  of  the  contrast 
between  the  plain,  humble- looking  bee,  and  the  brilliant  but- 
terfly ;  of  the  hee^  working  so  diligently  to  load  himself  with 
honey,  and  as  soon  as  he  has  done  so,  flying  straight  back  to 
the  hive  and  unloading,  and  then  setting  off  again  immedi- 
ately on  the  same  errand,  never  wasting  a  moment,  nor 
getting  discouraged,  though  it  is  often  obliged  to  travel  miles 
for  a  load  of  honey ;  and  then  of  the  butterfly^  who  never  ap- 
pears to  do  any  thing  but  fly  round  and  smell  of  flowers. 
You  can  speak  of  this  contrast,  in  your  own  language,  and 
describe,  also,  the  habits  of  the  bee,  so  far  as  you  know  them 
or  can  learn  about  them,  A  great  deal  may  be  said  in  answer 
to  many  of  these  questions ;  especially  about  driving  out 
drones,  the  construction  of  the  honeycomb,  and  the  manner 
in  which  people  contrive  to  get  the  honey  from  the  hive. 


4:6  FIRST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.     11. 

STRAWBERRIES. 

1.  Is  not  the  strawberry  season  always  anticipated  with 
great  pleasure  by  children  ? 

2.  How  early  does  the  plant  begin  to  show  its  blossoms  ? 

3.  What  kind  of  flowers  are  they  ? 

4.  When  the  flower  disappears,  what  does  it  leave  ? 

5.  How  long  are  these  green  clusters  in  ripening  ? 

6.  As  soon  as  they  begin  to  turn  red,  what  do  children  do  ? 

7.  Where  do  they  hunt  for  them  ? 

8.  Where  do  they  find  the  largest  ones  ? 

9.  Do  not  the  bright  red  clusters  look  dehcious  ? 

10.  Do  not  more  berries  go  into  mouths,  than  into  baskets, 
generally  ? 

11.  Are  not  strawberries  a  favorite  'fruit  with  almost  every 
one  ? 

12.  Are  they  not  much  cultivated  in  gardens  ? 

18.  Do  they  not  sometimes  grow  to  a  very  large  size  ? 
L4.  How  large  have  you  seen  them  ? 


FIRST   1300K    IN    COMPOSITION.  4:7 


TO    THE  PUPIL, 


SUBJECT    NO.    11. 

Strawberries  are  the  earliest  of  all  the  berries  in  summer.  On 
this  account,  as  well  as  because  they  are  the  most  delicious  of 
all,  every  one  looks  forward  with  gr^at  pleasure  to  the  time 
when  they  will  be  ripe.  You  can  mention  how  early  chil- 
dren begin  to  watch  the  buds  and  blossoms  of  this  little  plant 
in  the  field  and  by  the  wayside.  You  can  describe  the  clus- 
ters of  white  blossoms,  and  their  gradual  change  into  ripe,  red 
berries ;  then  the  joy  of  the  children ;  the  plans  they  form 
for  their  holiday  afternoons  ;  their  pleasant  excursions  in  par- 
ties, with  baskets  and  tin  pails,  to  hunt  for  the  red  treasures ; 
in  what  kind  of  places  they  look  for  them ;  where  they  find 
the  largest,  and  how  many  they  sometimes  bring  home ;  also, 
how  you  like  best  to  eat  them. 

You  can  describe,  too,  the  manner  in  which  this  fruit  is 
cultivated  in  gardens,  and  the  size  to  which  it  sometimes 
grows. 


48  FIRST  BOOK   IN   COMPOSITION. 


SUBJECT    NO.    12. 

ANTS. 

1.  Do  not  ants  seem  to  be  about  as  busy  creatures  as  bees  ? 

2.  Are  they  as  useful  to  us  as  bees  ? 

3.  What  do  bees  furnish  us  with  ? 

4.  May  we  not,  however,  learn  something  from  the  ant  ? 

5.  How  do  they  show  industry  and  perseverance  ? 

6.  What  kind  of  houses  do  they  live  in  ? 

7.  Do  they  build  these  themselves  ? 

8.  If  any  accident  happens  to  their  dwelling,  what  do 
they  do  ? 

9.  Are  they  ever  out  of  patience,  or  discouraged  ? 

10.  Are  not  such  accidents  very  frequent  ? 

11.  How  do  they  provide  for  the  future  ? 

12.  What  may  we  learn  from  them  in  this  ? 

13.  Are  they  not  enterprising  little  creatures  ? 

14.  Have  you  ever  seen  one  carrying  a  burden  much  larger 
than  himself? 

15.  How  did  he  manage  it  ? 

16.  What  other  facts   do  you    know  about    these  little 
insects  ? 


FIRST   BOOK   IN    COMPOSITION.  49 


TO    TEE  PUPIL, 

SUBJECT    NO.    12. 

Solomon,  who  you  know  was  tlie  wisest  of  men,  says,  "  Go 
to  the  ant,  thou  sluggard  ;  consider  her  ways,  and  be  wise ;" 
which  shows  that  he  himself  had  learned  lessons  of  industry 
from  this  little  insect. 

You  must  observe:  he  says,  ^''Consider  her  ways;"  which 
means,  we  must  study  the  movements  of  the  little  creatures, 
watch  their  goin^  in  and  their  coming  outj  and  find  out,  if  we 
can,  the  jpurpose  of  each  movement ;  for  you  will  learn,  by 
watching  them,  that  each  movement  has  a  purpose.  All  this 
you  must  do  ;  and  in  addition  to  your  own  observations,  you 
should  find  out  fi:om  books,  or  by  asking  questions,  as  much 
as  possible  about  the  habits  of  this  little  insect,  and  any  inter- 
esting facts  or  anecdotes  concerning  them.  In  this  way,  you 
will  find  more  than  enough  material  for  one  composition.  If 
you  choose,  you  may  divide  the  questions,  and  write  twice 
upon  this  subject. 


50  FIRST  BOOK   IN   COMPOSITION. 


SUBJECT    Sro.    13 


FRO  a 8. 


1.  What  kind  of  looking  creatures  are  frogs  ? 

2.  "What  sort  of  places  do  they  live  in  ? 

3.  What  do  they  live  upon  ? 

4.  What  kind  of  a  noise  do  they  make  ? 

5.  Is  it  not  one  of  the  first  sounds  in  spring  ? 

6.  Is  it  a  pleasant  sound  ? 

7.  Does  it  not  express  contentment  as  much  as  the  singing 
of  birds  ? 

8.  Is  it  not  easy  to  see  how  birds  can  be  happy,  hopping 
about  in  the  trees  ? 

9.  Are  not  frogs  just  as  happy  in  dirty  marshes  and 
pools  ? 

10.  Has  not  God  made  every  creature  for  some  particular 
place  ? 

11.  Would  a  frog  enjoy  himself  if  he  were  to  change  places 
with  a  bird  ? 

12.  What  lesson  can  we  learn  from  this  thought  ? 


FIEST  BOOK  IN   COMPOSITION.  51 


TO    TH^  PUPIL, 


SUBJECT    NO.    13. 

The  peeping  of  these  strange  creatures  is  one  of  the  earliest 
indications  of  the  approach  of  summer.  On  this  account,  it  is 
a  delightful  sound  to  every  one.  You  can  describe  the  feeling 
of  pleasure  with  which  you  always  hear  it  for  the  first  time, 
after  winter  has  departed,  and  all  the  pleasant  visions  it  brings 
to  your  mind  of  the  coming  summer ;  of  blue  skies,  and  soft, 
warm  air ;  of  walks  in  the  woods^  wild-flowers,  and  green 
moss.  You  can  describe  the  haunts  of  these  creatures, — some 
of  them  in  pleasant  places ;  their  queer  noises  and  sudden 
jumps, — what  these  mean.  You  can  compare  their  Hfe  with 
that  of  a  bird.  K  you  choose,  instead  of  writing  answers  to 
the  questions,  you  may  write  a  story  of  a  discontented  frog 
who  thought  he  would  try  a  bird's  life,  his  adventures,  and 
how  at  last  he  became  a  contented  frog. 


52  FIRST  BOOK  IN  COMPOSITION. 


SUBJECT    NO.    14. 

FLIES. 

1.  Are  not  flies  tlie  most  common  of  insects  ? 

2.  Do  thej  sting  like  musquitoes  ? 

3.  Are  they  not,  however,  sometimes  very  troublesome  ? 

4.  How  are  they  troublesome  ? 

5.  What  do  they  like  best  to  eat  ? 

6.  Are  they  not  most  abundant  in  very  warm  weather  ? 

7.  Is  it  easy  to  drive  one  away  when  he  makes  up  his 
mind  to  attack  you  ? 

8.  What  kind  of  traps  do  people  set  for  them  ? 

9.  How  does  the  fly  get  caught  ? 

10.  Are  not  great  numbers  often  destroyed  in  this  way  ? 

11.  What  is  the  greatest  enemy  of  the  fly? 

12.  How  does  the  spider  catch  it  ? 

13.  How  do  flies  manage  to  walk  on  the  ceiling  ? 

14.  Could  a  bird  walk  so  ? 

15.  Do  flies  like  cold  weather  ? 

16.  What  becomes  of  them  in  winter  ? 


FIKST  BOOK  IN   COMPOSITION. 


53 


TO    THE  PUPIL, 


SUBJECT    NO.    14 


You  can  speak  particularly  of  the  troublesome  character  of 
this  insect, — ^the  annoying  way  in  which  it  will  return,  again 
and  again,  after  being  driven  off.  You  can  describe  one  of 
these  attacks  upon  yourself,  and  mention  which  at  last  gained 
the  victory,  you  or  the  fly.  You  can  also  give  a  full  descrip- 
tion of  the  manner  in  which  the  spider  constructs  his  web, 
and  manages  to  catch  the  fly. 

If  you  will  consider  a  moment,  it  will  seem  quite  wonderful 
to  you  that  a  fly  can  walk  upon  the  ceiling :  you  know  a  bird 
could  not  walk  so.  If  you  cannot  give  the  reason  yourself, 
you  should  ask  some  one  to  explain  it  to  you ;  and  when  you 
have  obtained  a  clear  idea  of  all  these  particulars,  you  should 
try  to  describe  them  accurately  in  your  composition. 


54  FIRST   BOOK  IN   COMPOSITION. 


SUBJECT    NO.    15 


BIRD'S'NESTS. 


1.  Where  do  birds  generally  build  their  nests  ? 

2.  Why  do  they  build  them  so  high  ? 

3.  What  is  the  outside  of  the  nest  made  of? 

4.  What  is  the  inside  lined  with  ? 

5.  Where  do  birds  get  the  materials  for  their  nests  ? 

6.  Do  they  collect  it  together,  and  carry  it  in  one  load  in 
their  claws  ? 

7.  How  do  they  manage  it  ? 

8.  Is  not  a  bird's-nest  full  of  young  birds,  or  of  little  blue 
eggs,  a  pretty  sight  ? 

9.  Is  it  not  cruel  to  rob  a  bird's-nest  ? 

10.  How  does  the  old  bird  feel  when  any  one  is  near  her 
nest? 

11.  How  does  she  show  her  distress  ? 

12.  Do  the  birds  leave  their  nests  when  they  fly  off  to  the 
south,  or  do  they  take  them  ? 

13.  Is  there  any  harm  in  taking  them  in  fall  or  winter, 
when  the  birds  have  left  them  ? 

14.  Will  they  pot  build  other  nests  when  they  return  in 
the  spring  ? 


FIRST  BOOK  IN  COMPOSITION.  55 


TO    THE  PUPIL. 


SUBJECT    NO.    15. 

Have  you  ever  found,  in  the  Fall,  after  the  cold  winds  had 
come,  or  in  winter,  half  full  of  snow,  a  little  bird's-nest ;  and 
examined  how  neatly  it  was  woven  together, — ^the  outside  of 
rough  sticks  and  leaves,  and  the  inside  lined  so  delicately 
with  soft  hair?  If  you  have,  you  can  describe  all  this  in 
your  own  way,  and  mention  where  and  how  you  found  the 
nest,  and  to  what  bird  it  probably  belonged. 

You  can  describe,  also,  under  the  questions,  the  process  of 
building  a  nest ;  the  appearance  of  a  nest  fall  of  eggs,  or  of 
little  birds ;  the  actions  of  the  young  birds  while  you  were 
near  the  nest ;  the  movements  and  cries  of  distress  of  the 
mother ;  the  manner  in  which  the  old  bird  feeds  the  young 
ones ;  what  she  gives  them  to  eat ;  and  what  becomes  of  the 
nest  when  the  little  iDirds  have  learned  to  fly. 


66  FIRST  BOOK  IN   COMPOSITION. 


-^SUBJECT    NO.    16. 


CHESTNUTS, 


1.  What  tree  do  these  nuts  grow  upon  ? 

2.  What  kind  of  a  bur  are  they  inclosed  in  ? 

3.  When  do  these  burs  open  ? 

4.  What  becomes  of  the  nut  when  the  bur  opens  ? 
6.  Is  not  this  time  eagerly  watched  for  ? 

6.  Are  not  nutting  excursions  then  all  the  fjishion  ? 

7.  Are  these  not  delightfal  ? 

8.  Is  it  always  easy  to  find  the  nuts  ? 

9.  What  sometimes  covers  them  up  ? 

10.  Do  not  the  nuts  sometimes  stick  in  the  burs  ? 

11.  Is  it  not  great  work  for  boys  to  shake  them  down  ? 

12.  Is  it  not  pleasant  to  take  home  a  good  basket  full  of 
nuts  ? 

13.  What  is  done  with  them  in  the  evening  sometimes  ? 

14.  Are  not  these  nutting  excursions  the  pleasantest  things 
in  autumn  ? 

15.  Are  they  not  the  last  of  the  season  ? 

16.  How  do  the  woods  begin  to  look  ? 


'FIRST  BOOK  IN   COMPOSITION.  57 


TO    THE  PUPIL. 

SUBJECT    NO.    16. 

In  mentioning  the  chestnut-tree,  you  can  compare  it  with 
the  oak,  and  speak  of  the  difference  between  the  two  trees,  in 
their  general  appearance  and  the  manner  in  which  their 
branches  grow,  shape  of  the  leaf,  &c.  You  can  describe  the 
appearance  of  the  chestnut-tree  when  in  blossom,  the  kind  of 
flower  it  bears,  and  the  clusters  of  green  burs  which  succeed 
the  flower.  Also,  the  effect  of  the  frost  upon  these  burs,  and 
the  eagerness  with  which  children  watch  for  the  dropping  of 
the  nuts ;  the  excursions  into  the  woods  which  take  place ; 
the  shuffling  and  poking  among  the  dry  leaves ;  the  gather- 
ing of  the  nuts ;  the  pleasure  of  bringing  them  home ;  then 
of  boiling  them,  and  sharing  them  with  friends. 

You  can  speak  of  these  excursions  into  the  wood  as  being 
the  last  of  the  season,  and  describe  the  signs  of  the  coming 
winter,— cold  winds,  bare  trees,  &c. 


58  FIRST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    17. 

KATY'BIBS. 

1.  "WTiat  do  Katj-dids  look  like  ? 

2.  What  color  are  they  ? 

I    3.  Is  not  their  note  very  peculiar  ? 

4.  What  does  it  sound  like  ? 

5.  How  do  they  make  it  ? 

6.  When  do  we  first  begin  to  hear  them  in  summer  ? 

7.  Do  they  not  seem  always  to  be  contradicting  each  other  ? 

8.  What  does  one  side  say  ? 

9.  What  do  the  others  reply  ? 

10.  Do  they  ever  seem  to  come  to  any  agreement  about 
Katy? 

11.  Do  they  not  take  up  the  same  old  tune  every  summer? 

12.  Has  any  one  ever  found  out  yet  what  Katy  did  ? 

13.  Do  you  suppose  any  one  ever  will  find  out  ? 

14.  Is  it  likely  the  Katy-dids  and  Katy-didn'ts  ever  will 
agree  ? 

15.  Does  not  this  show  how  hard  it  is  for  people  to  stop 
when  they  once  begin  to  contradict  ? 

16.  Should  it  not  be  a  warning  to  every  one  to  be  very 
careful  about  beginning  a  dispute  ? 


FIKST  BOOK   IN   COMPOSITION.  59 


TO    TEE  PUPIL. 


SUBJECT    NO.    17. 

You  can  describe,  very  particularly,  the  appearance  of  tliis 
curious  insect,  and  the  manner  in  wliicli  it  produces  the 
peculiar  sound  from  which  it  takes  its  name. 

You  can  speak  of  the  time  in  the  summer  when  this  note 
begins  to  be  heard,  and  describe  a  concert  of  summer;evening 
sounds ;  the  various  notes  which  mingle  with  those  of  the 
Katy-did  ;  and  the  peculiar  effect,  like  that  of  perpetual  con- 
tradiction, produced  by  this  insect. 

You  can,  if  you  please,  write  an  imaginary  story  of  the 
manner  in  which  this  quarrel  originated,  and  add  any  reflec- 
tions which  may  occur  to  you  upon  the  habit  of  contradiction, 
and  the  determination  to  have  the  last  word  in  a  dispute. 


60  FIRST   BOOK   IN    COMPOSITION. 


SUBJECT    NO.    18 

AFPLE'TREES. 

1.  Are  apple-trees  graceful  ? 

2.  Are  they  not  generally  low  and  crooked  ? 

3.  Are  they  not  easy  trees  to  climb  ? 

4.  If  they  were  lofty  like  the  elm,  would  it  not  be  diificult 
to  gathe:^the  fruit  ? 

5.  Are  not  all  associations  with  this  tree  very  pleasant  ? 

6.  Are  they  not  beautiful  when  they  are  laden  with  blos- 
soms ? 

7.  What  color  are  these  blossoms  ? 

8.  Have  they  not  a  delicious  fragrance  ? 

9.  When  the  flowers  disappear,  what  succeeds  ? 

10.  How  long  does  it  take  for  the  little  green  apples  to 
ripen  ? 

11.  How  does  the  tree  look  when  laden  with  ripe  fruit  ? 

12.  When  the  red  and  golden  apples  begin  to  drop,  is  it 
not  pleasant  to  gather  them  ? 

13.  What  is  the  first  thing  to  be  done  every  morning  ? 

14.  If  there  has  been  a  high  wind,  is  not  the  ground  strewn 
with  them  ? 

15.  What  is  done  with  the  apples  ? 


FIRST  BOOK  m  COMPOSITION. 


61 


TO    THE  PUPIL 


SUBJECT    NO.    18 


You  can  speak  of  the  ease  witli  whicli  this  tree  is  climbed, 
and  of  other  reasons  why  it  is  a  favorite  with  children ;  and 
describe  its  appearance  in  the  different  seasons :  beginning 
with  spring,  when  it  is  covered  with  its  beautiful  pink  and 
white  blossoms ;  thcD,  when  these  blossoms  begin  to  fall,  the 
showers  of  white  leaves  and  the  delightful  odors  which  fill 
the  air ;  the  curious  little  green  things  which  the  flowers 
leave  behind  them ;  the  slow  growth  of  these  into  rich,  ripe 
apples ;  the  appearance  of  the  tree  when  the  fruit  is  ripe, 
sometimes  bending  under  its  red  and  golden  burden ;  and 
the  way  in  which  the  branches  are  prevented  from  breaking 
off,  when  they  are  too  heavily  laden.  Describe,  also,  the  gath- 
ering of  the  fruit,  and  mention  what  is  done  with  the  different 
kinds  of  apples,  and  all  the  various  uses  of  this  fruit. 


62  riKST   hOOK   IN   COMPOSITION. 


SUBJECT    NO.     19. 

1.  Where  does  rain  come  from  ? 

2.  How  does  it  get  into  the  clouds  ? 

3.  If  it  were  not  for  rain,  would  not  every  thing  upon  the 
earth  die  ? 

4.  In 'hummer,  do  not  many  weeks  often  pass  away  with- 
out any  ? 

5.  How  does  every  thing  look  then  ? 

6.  Does  not  rain  always  come  at  last  ? 

7.  Is  it  not  delightful  to  see  the  clouds  roll  up,  and  the 
drops  begin  to  fall  ? 

8.  Does  not  the  grass  begin  to  grow  green  again  immediately? 

9.  How  does  the  air  feel,  and  every  thing  look,  after  the 
shower  ? 

10.  Do  not  children  always  like  rain  when  it  does  not  spoil 
their  plans  ? 

11.  If  they  are  planning  an  excursion,  do  they  like  to  see 
the  clouds  ?  • 

12.  Do  they  not  always  try  to  think  it  wiU  not  rain  ? 

13.  K  the  rain  does  come,  ought  they  to  complain  ? 

14.  Is  it  not  always  good  for  the  earth  ? 


FIRST  BOOK  IN   COMPOSITIOIST.  63 


TO    THE  PUPIL. 


SUBJECT    NO.    19. 

You  will  be  able  to  answer  tbe  first  question  ;  but  perhaps 
you  may  not  know  bow  the  rain  gets  into  the  clouds.  This 
you  must  learn  by  asking  your  Teacher. 

You  can  describe  the  appearance  of  every  thing  in  summer, 
when  several  weeks  have  passed  without  rain, — so  dried  up ; 
the  grass  scorched  and  withered  ;  the  air  filled  with  dust,  and 
every  body  uncomfortable ;  then  the  shower,  which  always 
comes  at  last ;  the  delight  of  every  one,  when  the  clouds  are 
seen  rolling  up ;  the  falling  of  the  rain ;  the  overflowing  of 
the  streets ;  then  the  bursting  forth  of  the  sun  ;  the  freshened 
air,  and  the  altered  appearance  of  the  landscape.  You  can 
speak,  also,  of  the  manner  in  which  children  sometimes  com- 
plain of  the  rain,  when  it  interferes  with  their  plans ;  and  give 
the  reasons  why  this  is  wrong. 


64  FIRST   BOOK  IN   COMPOSITION. 


SUBJECT    NO.-  20. 

FROST. 

1.  When  does  frost  first  come  ? 

2.  Does  it  not  make  sad  work  with  the  beautiful  summer 
flowers  ? 

3.  Before  it  comes,  how  do  they,  look  ? 

4.  After  it,  is  not  every  thing  changed  ? 

5.  What  becomes  of  the  grass  and  the  flowers  ? 

6.  Are  not  the  trees  the  only  thing  which  the  frost  does 
not  spoil  ? 

7.  What  does  it  do  to  them  ? 

8.  Do  their  bright  colors  last  long  ? 

9.  What  do  they  gradually  turn  into  ? 

10.  What  becomes  of  the  leaves  finally  ? 

11.  Are  not  the  trees  left  bare  ? 

12.  Do  not  the  cold  winds  begin  to  whistle  through  them 
then? 

13.  Is  not  this  a  sign  that  winter  is  coming  ? 

14.  Is  it  not  pleasant,  then,  to  gather  round  the  bright  fire 
in  the  house  ? 

15.  Do  not  the  evenings  begin  to  grow  long  then  ? 

16.  How  is  it  pleasant  to  spend  them  ? 


FIRST  BOOK  IN   COMPOSITION. 


65 


TO    THE  PUPIL. 


SUBJECT    NO.    20. 

Yon  can  describe  the  gradual  signs  of  Jack  Presto's  approach 
in  the  chill  September  nights,  growing  colder  and  colder,  till 
finally  he  makes  his  appearance;  then  the  change  which 
comes  over  every  thing;  the  desolation  of  the  gardens,  as 
frost  after  frost  passes  over  them ;  every  thing  a  dull,  dead 
brown  except  the  trees  ;  the  beautiful  colors  with  which  these 
are  adorned ;  the  gradual  fading  of  these  bright  leaves,  till 
finally  they  drop  off ;  then  the  bare  appearance  of  the  trees ; 
the  darkened,  chilly  skies ;  the  whistling  of  November  winds, 
and  the  freezing  temperature. 

You  can  describe  the  gathering  round  bright  fires  in  the 
house,  the  lengthening  evenings,  and  the  various  ways  in 
which  these  may  be  pleasantly  spent. 


FIRST  BOOK   IN   COMPOSITION. 


SUBJECT    NO.    21. 

8F0W. 

1.  What  comes  next  after  frost  ? 

2.  Are  not  children  always  delighted  to  see  the  snow, 
when  it  first  conies  ? 

3.  Do  they  not  get  tired  of  the  dead  grass  and  leaves  ? 

4.  Are  they  not  glad  to  have  them  covered  up  ? 

5.  Do  these  not  like  to  watch  the  snow-flakes  as  they  fall  ? 

6.  Do  these  make  any  noise  in  falling  ? 

7.  Does  it  not  often  snow  all  night,  without  any  one  find- 
ing it  out  ? 

8.  Is  it  not  a  great  surprise  in  the  morning,  to  see  every 
thing  white  with  snow  ? 

9.  How  do  the  trees  and  roofs  look  ? 

10.  Is  it  not  pleasant  to  hear  the  sleigh-bells  begin  to  jingle  ? 

11.  How  dq  boys  play  with  the  snow  ? 

12.  Do  they  not  like  it  all  the  better,  the  deeper  it  is  ? 

13.  Does  it  not  seem  strange,  that  such  a  cold  thing  as 
snow  can  keep  any  thing  warm  ? 

14.  Does  it  not  keep  the  earth  warmer  than  it  would  be 
without  it  ? 

15.  Would  not  a  great  many  plants  die  in  winter,  if  it  were 

I      not  for  the  snow  ? 

i 


FIRST  BOOK  IN  COMPOSITION.  67 


TO    TEE  PUPIL. 

SUBJECT    NO.    21. 

You  can  speak  of  the  pleasant  change  from  the  dreary, 
frozen  earth,  to  the  clear,  white  snow  ;  the  delight  of  children, 
when  they  see  the  first  white  flakes  floating  in  the  air ;  how 
they  like  to  catch  these  as  they  fall,  and  see  them  melt  in 
their  hands ;  and  the  various  beautiful  forms  of  these  snow- 
flakes.  You  can  speak  of  the  stillness  of  a  snow-storm,  and 
describe  the  changed  appearance  of  every  thing  after  one  has 
taken  place  in  the  night ;  the  beautiful  effect  of  the  morning 
sun  upon  the  pure  white  landscape ;-  then  the  jingling  of 
sleigh-bells,  the  shovelling  of  paths,  and  all  the  sports  which 
snow  brings  with  it  for  children ;  snow-balling,  forts,  coasting, 
&c. :  all  these  you  will  find  no  difficulty  in  describing. 

You  can  mention,  also,  the  reasons  why  the  earth  is  warmer 
with  its  snow  covering  than  it  would  be  without  it. 


FIRST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    22. 
ICE, 

1.  How  is  ice  formed  ? 

2.  Does  not  water  sometimes  freeze  in  falling  from  the 
roof  of  a  house  ? 

3.  What  does  it  form  then  ? 

4.  What  shape  are  these  icicles  ? 

5.  Do  we  not  often  see  great  numbers  of  them  hanging 
from  houses  and  trees  ? 

6.  How  do  they  look  when  the  sun  shines  upon  them  ? 

7.  When  the  weather  is  very  cold,  what  happens  to  the 
ponds  and  rivers  ? 

8.  Do  not  the  boys  have  merry  times  then,  sledding  and 
skating  ? 

9.  Is  not  ice  very  slippery  ? 

10.  If  yoii  do  not  step  carefully,  will  you  not  certainly  fall  ? 

11.  Even  then,  will  you  not  sometimes  be  over  before  you 
Lnow  it? 

12.  Do  not  children  like  to  find  a  smooth   strip  by  the 
roadside? 

13.  Do  they  not  always  stop  to  try  it  ? 

14.  And  sometimes,  by  doing  so,  do  they  not  get  late  to 
school  ? 


FIRST  BOOK  IN   COMPOSITION. 


69 


TO    TEE  PUPIL, 


SUBJECT    JSrO.    22 


You  can  describe  tlie  various  forms  wliicli  ice  takes  in 
freezing ;  the  beautiful,  delicate  crystals  which  are  sometimes 
found  on  the  top  of  water ;  the  long,  sharp-pointed  icicles  ~ 
hanging  in  stiff  fringes  from  the  roofs  of  houses  and  branches 
of  trees ;  the  silver  coating  of  boughs  and  twigs ;  and  the 
beauty  of  all  this,  when  the  sun  shines  upon  it. 

You  can  describe,  too,  the  freezing  of  the  ponds  and  rivers ; 
then  the  skating  parties  which  cover  them ;  the  coasting  down 
steep  hill-sides ;  the  caaition  one  is  obliged  to  observe  in  walk- 
ing upon  ice,  and  the  various  tumbles  one  gets  in  spite  of  it. 

You  can  speak  of  the  pleasure  it  gives  children  to  jQnd  a 
long,  smooth  strip  of  ice  by  the  roadside ;  their  manner  of 
sliding  upon  it;  and  also  of  getting  late  to  school,  and  its 
consequences. 


70  FIRST  BOCK   IN   COMPOSITION. 


SUBJECT    JSrO.     23. 
NIGHT. 

1.  Does  not  every  thing  go  to  sleep  at  night  ? 

2.  How  do  flowers  go  to  sleep  ? 

3.  What  do  chickens  do  at  night  ? 

4.  What  do  children  do  ? 

5.  Could  any  one  live  without  sleep  ? 

6.  Does  it  not  sometimes  seem  a  pity  to  lose  the  beauty  of 
the  night  ? 

7.  Are  not  the  moon  and  the  troops  of  bright  stars  beautiful  ? 

8.  Is  not  their  light  pleasanter  in  summer  than  the  glaring 
sun  at  noon  ? 

9.  Is  it  not  pleasant  to  listen  to  the  crickets  and  the  katy- 
dids? 

10.  Do  they  not  seem  as  glad  as  people  are  to  have  the  sun 
go  down  ? 

11.  Are  not  winter  nights  beautiful,  too  ? 

12.  Are  not  the  stars  brighter  then  than  in  summer  ? 

13.  What  bright  light  do  we  often  see  then,  in  the  north  ? 

14.  Does  not  the  snow  upon  the  ground  help  make  it  very 
light? 

15.  At  night,  does  it  not  almost  seem  as  if  we  could  see 
heaven  between  the  stars  ? 

16.  Does  not  God  seem  nearer  to  us  at  night  than  by  day? 


FIRST  BOOK  IN   COMPOSITION.  71 


TO    THE  PUPIL, 

SUBJECT    KO.    23. 

There  are  many  thoughts  suggested  by  these  questions, 
upon  which  you  can  dwell  at  almost  any  length.  Among 
these  are,-7-the  uses  of  the  night  to  plants,  to  animals,  and  to 
human  beings ;  the  thought,  also,  of  what  would  become  of 
them  without  this  period  of  repose.  Then  there  are  descrip- 
tions of  the  beauty  of  night ;  the  glory  of  the  moon  and  stars, 
and  all  the  host  of  heaven  ;  the  quiet  of  summer  evenings  ; 
the  song  of  the  katy-did  and  cricket,  rejoicing  at  the  going 
down  of  the  sun ;  then  the  winter  night ;  the  clear,  frosty  air ; 
the  brilliant  aurora  borealis  ;  the  brightness  of  the  stars  ;  the 
light  of  the  snow :  all  these  you  may  describe  as  vividly  as 
possible, — ^then  how,  at  night,  we  can  look  up  into  the  sky, 
without  being  blinded  by  the  light ;  and  the  longer  we  look, 
the  farther  we  seem  to  see  into  the  deep  blue  heaven.  You 
can  speak  of  the  glory  of  Grod,  as  written  upon  the  heavens, 
and  of  his  nearness  to  us  in  the  still  hours  of  the  night. 


72  FIRST  BOOK   IN   COMPOSITION. 


SUBJECT    NO.    24. 

MORKIN-Q. 

1.  Is  not  early  morning  the  most  delightfiil  part  of  the  day? 

2.  Is  it  not  a  pity  to  waste  it  in  sleeping  ? 

3.  What  do  the  birds  begin  to  do  before  daylight  in 
summer  ? 

4.  How  do  the  roosters  try  to  wake  up  lazy  people  ? 
6.  Is  not  the  air  pure  and  cool  in  the  morning  ? 

6.  Do  not  the  flowers  look  fresh,  with  the  dew  upon  them? 

7.  Is  it  not  pleasant  to  take  walks  before  breakfast  and 
gather  flowers  ? 

8.  Is  it  not  best  to  wear  things  which  will  not  be  spoiled 
by  the  dew  ? 

9.  Cannot  a  great  deal  of  time  be  saved  by  early  rising  ? 

10.  Ought  not  every  one  to  form  the  habit  of  it  ? 

11.  Have  not  almost  all  great  men  been  early  risers  ? 

12.  Have  they  not  been  able  to  study  more  than  other 
people  ? 

13.  By  this  means,  have  they  not  become  distinguished  for 
their  learning,  or  in  some  other  way? 

14.  Can  you  mention  any  of  these  by  name  ? 

15.  For  what  were  they  distinguished  ? 


FIRST  BOOK   IN   COMPOSITION.  78 


TO    TEE  PUPIL. 
SUBJECT    NO.    24. 

Every  one  knows,  or  ought  to  know,  that  the  early  morn- 
ing is  the  most  beautiful  part  of  the  day.  You  can  mention 
the  various  reasons  why  it  is  so ;  the  fresh  appearance  of  every- 
thing ;  the  coolness  of  the  air ;  the  beauty  of  the  sunrise :  and 
you  can  speak  of  the  foolishness  of  losing  all  this  beauty  by 
sleeping  late;  and  of  the  wisdom  of  the  little  birds,  and  of 
Roosters,  in  comparison  with  lazy  children  ;  how  the  Roosters 
begin  long  before  sunrise  to  crow,  and  the  birds  to  chirp  and 
twitter,  as  if  trying  to  make  sleepy  people  wake  up  and  enjoy 
the  beauty  of  the  scene. 

You  can  speak,  also,  of  the  time  that  is  saved  by  early 
rising,  and  estimate  how  much  half  an  hour  saved  would  be 
at  the  end  of  a  year ;  and  you  can  mention,  also,  any  great 
men  who  have  been  early  risers,  and  for  what  they  became 
distinguished. 

Am 


74  -  FIEST  BOOK   IN   COMPOSITION. 


SUBJECT    NO.    25 


TREES. 


1.  Would  there  be  any  beauty  in  tbe  earth,  if  it  were  not 
for  trees  ? 

2.  Do  they  not  cover  the  mountains  and  fill  the  valleys  ? 
8.  In  spring,  what  is  the  appearance  of  their  foliage  ? 

4.  How  does  it  look  in  summer  ? 

5.  How  does  it  change  in  autumn  ? 

6.  In  winter,  is  it  not  pleasant  to  look  through  the  leafless 
twigs  into  the  deep  blue  sky  ? 

7.  When  trees  are  covered  with  ice,  how  do  they  look  in 
the  sunlight  ? 

8.  Do  we  not  love  trees  best  in  sun\mer  ? 

9.  Are  they  not  of  more  use  to  us  then  ? 

10.  Could  we  endure  the  heat  of  summer  without  their  cool 
shade  ? 

11.  After  a  hot  walk  in  the  sxm,  is  it  not  delightfiil  to  come 
to  a  shady  grove  ? 

12.  Do  not  people  sometimes  get  up  pic-nics,  and  take 
dinner  under  the  trees  ? 

13.  Is  not  a  grove  of  trees  the  pleasantest  dining-room  in 
the  world  •? 

14.  What  is  its  furniture  ? 


FIKST  BOOK  IN   COMPOSITION.  75 


TO    TEE  PUPIL. 

SUBJECT    NO.    25. 

Trees  clotlie  the  wliole  earth  with  beauty,  and  without  them 
it  would  be  barren  and  desolate  enough.  You  can  dwell 
upon  this  latter  idea,  and  write,  if  you  choose,  an  imaginary 
description  of  the  earth  without  trees,  in  contrast  to  the  earth 
as  it  now  is,  adorned  with  its  beautiful  plumage  of  green. 

You  can  describe  the  varied  appearance  of  trees,  in  spring, 
in  summer,  in  autumn,  and  in  winter. 

You  can  speak  of  the  scorching  heat  of  the  summer  sun ; 
how  impossible  it  would  be  to  endure  this  without  the  shade 
of  trees  to  relieve  it ;  and  the  pleasure,  in  a  summer  walk,  of 
taking  refuge  in  a  shady  grove. 

You  can  describe  a  pic-nic  dinner  under  the  trees ;  the  kind 
of  dining-room  which  these  form ;  with  what  it  is  carpeted, 
and  how  it  is  furnished  in  other  respects. 


76  FIRST  BOOK   IN   COMPOSITION. 

SUBJECT    NO.    26. 
FLOWERS, 

1.  Could  not  G-od  have  made  tlie  world  without  flowers  ? 

2.  Could  we  not  have  houses  to  live  in,  and  enough  to  eat, 
if  there  were  no  flowers  ? 

3.  Might  not  God  have  made  flowers  all  of  one  kind  and 
one  color  ? 

4.  Has  he  not  given  us  a  wonderful  and  beautifal  variety  ? 

5.  Has  he  not  scattered  them  in  profusion  everywhere  ? 

6.  Do  flowers  seem  to  have  been  made  for  any  thing 
except  to  give  us  pleasure  ? 

7.  Is  not  the  grass  by  the  roadside  often  sprinkled  with 
little  flowers  ? 

8.  When  we  see  them,  ought  we  not  to  be  thankful  to  God? 

9.  Should  it  not  teach  us  to  try  to  make  others  happy  ? 

10.  Cannot  we  make  others  happy  by  kind  words  and  acts, 
as  God  makes  us  happy  with  flowers  ? 

11 .  Ought  we  not  to  give  these  as  freely  as  he  gives  us  flowers  ? 

12.  Do  we  not  often  trample  upon  flowers  and  throw  them 
away? 

13.  When  we  do  so,  does  God  stop  giving  us  flowers  ? 

14.  When  people  are  unkind  to  us,  then,  should  we  stop 
being  kind  to  them  ? 

15.  If  we  do,  is  that  being  like  God  ?  " 


FIRST  BOOK  IN  COMPOSITION. 


77 


TO    TEE  pupil: 


SUBJECT    NO.    26. 

Answel"  these  questions  in  tlie  order  in  which  they  stand ; 
and  try  to  make  a  composition  out  of  the  thoughts  suggested, 
which  shall  show  the  love  of  God  in  giving  us  flowers. 

You  must  remember  then,  that  it  is  the  question,  "TFAy 
does  God  give  us  flowers  T^ — ^that  you  are  to  answer,  in  your 
composition ;  and  you  are  to  show  that  it  is  because  he  loves 
us,  and  wishes  us  to  be  happy,  that  he  scatters  these  beautifal 
things  along  the  wayside  and  in  the  woods ;  and  that  we 
ought  also  to  try  to  scatter  kind  words  and  acts  along  the 
pathway  of  others,  in  order  to  make  them  happy,  so  that  we 
may  be  like  God ;  and  also  that,  as  he  never  stops  giving  us 
good  things  on  account  of  our  ingratitude,  so  we  ought  never 
to  become  discouraged  or  weary  in  well-doing  by  the  unkind- 
ness  of  others. 


78  FIRST  BOOK  IN  COMPOSITION. 


END   OF  DIVISION  I. 


The  subjects  embraced  in  the  foregoing  Division  are  more  simple 
than  those  which  follow,  in  this  respect — ^that  tl;iey  are  more  general  in 
their  mode  of  treatment.  For  very  young  pupils  this  is  necessary,  as 
they  are  incapable  of  the  patient  study  which  is  required  for  accurate 
description. 

Division  No.  IE.  is  progressive  in  this  respect,  and  demands  from  the 
pupil  more  carefulness  of  observation  and  accuracy  in  description. 

The  pupil  should  feel  the  responsibility  of  stvdying  for  his  composi- 
tion, as  much  as  for  any  other  exercise. 


'^  o  ,  It 


80  FIRST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    1. 
AUTUMN  LEAVES. 

1.  When  do  the  trees  begin  to  put  on  their  bright,  warm 
colors  ? 

2.  Does  the  first  frost  change  them  much  ? 

3.  How  do  the  woods  appear  after  the  first  firost  ? 

4.  How  after  the  second  or  third  ? 

5.  On  the  hills,  and  in  the  valleys,  and  by  the  roadside, 
what  is  seen  ? 

6.  What  are  the  different  colors,  in  this  bright  array  ? 

7.  What  tree,  or  shrub,  or  vine  puts  on  the  most  brilliant 
attire  ? 

8.  What  color  does  the  maple  choose  ? 

9.  What,  theoai:? 

10.  What,  the  chestnut  ? 

11.  What  trees  retain  their  green  dress  ? 

12.  Are  not  these  brilliant  colors  often  seen  in  beautiftil 
contrasts  ? 

18.  How  does  a  group  of  trees  appear,  in  which  all  these 
colors  are  mingled  ? 

14.  What  change  passes  over  these  bright  leaves  ? 

15.  What  does  the  November  wind  do  with  them  ? 

16.  Where  do  they  all  at  last  lie  ? 

17.  What  trees  alone  retain  their  foliage,  to  shield  them  in 
winter? 


FIRST  BOOK  IN  COMPOSITION.  81 


TO    THE  PUPIL 


SUBJECT    NO.    1 


You  can  describe  how  the  first  breath  of  frost  is  seen  in  the 
changing  colors  of  the  leaves,  and  how  these  brilliant  hues 
gradually  spread  over  the  hill-sides  and  fill  the  valleys ;  and 
also  the  different  colors  assumed  by  the  different  trees.  You 
will  find,  by  observing  them,  that  these  are  not  entirely  acci- 
dental ;  but  that  each  tree,  fi'om  year  to  year,  wears  nearly 
the  same  autumn  dress.  The  maple  assumes  the  greatest  va- 
riety of  colors,  while  the  oak  and  chestnut  are  more  uniform, 
and  present  only  different  hues  of  the  same  color.  You  can 
describe  the  effect  of  these  colors  contrasted  with  one  another 
in  a  group  of  trees — ^firom  the  dark,  unchanging  evergreen,  to 
the  gayest  maple — and  all  the  intervening  shades  of  the  other 
trees,  and  the  effect  of  sunUght  upon  these  autumn  colors. 

In  studying  the  wondrous  changes  wrought  by  touches  of 
light  upon  this  autumn  scenery,  a  new  world  of  pleasure  will 
be  opened  to  you,  and  you  will  be  furnished  with  abundant 
material  for  description. 

You  can  mention  the  gradual  fading  of  these  bright  leaves, 
till  they  lie  scattered  by  November  winds  upon  the  ground ; 
then  the  sombre,  desolate  appearance  of  the  forests,  as  they 
stand  waiting  for  the  winter  snow. 


82  FIRST   BOOK  IN   COMPOSITION. 


SUBJECT    NO.    2. 

MOSS, 

1.  Are  there  not  many  kinds  of  moss  ? 

2.  What  kinds  are  found  upon  fences,  old  trees,  and  roofe 
of  houses  ? 

3.  Are  not  the  most  beautiful  mosses  found  in  the  woods? 

4.  "What  kind  do  you  like  best  ? 

5.  How  does  it  grow  ? 

6.  Do  you  not  often  find  many  kinds  growing  together  ? 

7.  Do  they  not  then  make  a  beautifdl  carpet  ? 

8.  What  kind  of  berries  creep  over  this  carpet  ? 

9.  What  flowers  blossom  upon  it  ? 

10.  What  trees  wave  over  it  ? 

11.  What  lights  and  shadows  dance  upon  it  ? 

12.  What  little  birds  hop  over  it  ? 

13.  What  little  forest  animals  dine  upon  it  ? 

14.  What  nuts  do  they  find  hiding  away  in  it  ? 

15.  Is  it  not  often  spread  out  by  the  side  of  a  brook  or 
spring  ? 

16.  Is  it  not  then  the  most  delightful  retreat  in  a  warm 
summer  day  ? 


FIRST  BOOK  IN   COMPOSITION.  83 


TO    THE  PUPIL, 


SUBJECT    NO.    2. 

You  have  seen,  probably,  many  kinds  of  moss,  creeping 
over  rocks  and  stones,  hanging  from  fences,  and  growing  upon 
the  roofs  of  old  houses,  and  upon  old  trees.  You  can  dwell 
upon  this  fondness  of  moss  for  old  things,  and  speak  of  the 
beautiful  effect  it  gives  to  every  thing  it  clings  to.  You  can  de- 
scribe the  various  kinds  you  remember,  particularly  those  which 
grow  in  the  woods,  and  which  form  such  a  beautiful  carpet  by 
the  side  of  a  brook  or  spring.  Nothing  can  be  more  beautiful 
than  this  when  it  is  fresh  and  green,  interlaced  with  running 
vines,  and  dotted  with  wild-flowers  and  bright  scarlet  berries. 
No  wonder  that  the  little  birds  like  to  hop  round  upon  it,  or 
if  the  squirrel  chooses  it  for  a  dining-room :  all  this  you  can 
describe  in  your  own  words,  and  make  as  pretty  a  picture  of 
it  as  you  can. 

You  should  describe  any  given  kind  of  moss,  as  you  would 
do  if  you  wanted  some  for  a  particular  purpose,  and  were 
sending  for  it  by  a  person  who  had  never  seen  any.  In  such 
a  case  you  would  endeavor  to  distinguish  it  from  all  other 
kinds,  in  such  a  way  that  he  would  be  sure  to  bring  you  the 
right  kind  of  moss.  This  would  be  a  very  good  test  by  which 
to  try  your  descriptions.  You  can  speak,  too,  of  the  orna- 
mental uses  of  moss,  if  you  know  of  any. 


84  FIRST  BOOK   IN   COMPOSITION. 

SUBJECT    NO.    3. 
WILD-FLOWERS, 

1.  Are  not  these  flowers  to  be  found  from  early  in  tbe 
spring  till  late  in  autumn  ? 

2.  Are  they  not  most  beautifiil  in  spring  ? 

3.  Is  it  not  delightful,  after  the  tedious  cold  and  snow,  to 
see  the  liverworts^  and  the  anemones^  the  Hue  violets^  and  trailing 
arbutics  and  columbines  blossom  one  by  one  ? 

4.  What  kind  of  flower  is  the  liverwort^  and  where  does  it 
grow? 

5.  The  anemone  f 

6.  The  columbine  f 

7.  The  trailing  arbutus  or  Mayflower  f 

8.  The  honeysuckle^  too,  what  kind  of  a  flower  is  it,  and 
how  does  it  grow  ? 

9.  Later  in  the  summer,  what  comes  ? 

10.  Are  not  the  laurel  bushes  covered  with  their  magnifi- 
cent blossoms  ? 

11.  What  color  are  they,  and  how  do  they  grow  ? 

12.  What  kind  of  flower  is  the  wild  geranium  f 

13.  The  cardinal  flower  ? 

14.  What  about  the  golden-rod  ? 

15.  The  fringed  gentian^  too,  is  it  not  one  of  the  last  flowers 
before  frost  ? 

16.  When  do  these  beautiful  summer  visitants  finally  dis- 
appear ? 


FIRST  BOOK  IN  COMPOSITION.  85 


TO    TEE  PUPIL, 
SUBJECT    NO.    3. 

You  can  mention  by  name  the  various  flowers,  as  they 
appear  from  early  spring  till  late  in  the  autumn,  and  the  rea- 
sons why  spring  flowers  seem  the  sweetest.  These  you  may 
describe,  one  by  one,  as  you  remember  them,  mentioning  the 
time  of  their  appearance,  and  the  places  where  they  are  found ; 
then  in  the  same  way  the  flowers  of  summer  and  of  autumn, 
ending  with  those  which  disappear  on  the  arrival  of  frost. 

In  speaking  of  these  various  flowers,  you  should  endeavor 
to  use  descriptive  terms  which  express  the  most  striking 
quality  of  the  flower:  this  may  be  color,  as  in  the  cardinal 
flower  or  golden-rod ;  or  fragrance,  as  in  the  Mayflower ;  or 
profusion  of  blossoms,  as  in  the  laurel ;  or  it  may  be  the  man- 
ner in  which  it  grows — ^in  clusters,  or  otherwise.  To  seize 
upon  this  quality  and  express  it,  may  often  require  carefiil 
study ;  but  in  no  other  way  can  excellence  in  description  be 
attained. 

Yery  few  of  these  beautiful  wild-flowers  have,  as  they  all 
ought  to  have,  beautiful  names.  If  you  please,  you  can  exercise 
your  fancy  in  suggesting  new  names  for  the  flowers  whose  old 
ones  you  do  not  like.  Liverworts,  for  instance,  you  might 
call  "Spring's  blue  eyes,"  or  "May's  blue  eyes,"  or  simply 
"blue  eyes,"  or  you  can  suggest  any  other  name  which  may 
occur  to  you. 


86  FIRST  BOOK  IN  COMPOSITION. 

,       SUBJECT    NO.    4. 
ROSES. 

1.  "What  is  the  rose  sometimes  called  ? 

2.  Why  is  it  called  "  Queen  of  Flowers  ?"    • 

8.  Does  it*  not  grow  in  greater  profusion  and  variety  than 
any  other  flower  ? 

4.  Is  it  not  more  fragrant  than  any  other  ? 

5.  Is  it  not  found  in  every  region  where  flowers  grow  ? 

6.  How  many  varieties  have  you  ever  seen  ? 

7.  Which  do  you  think  most  beautiful  ? 

8.  How  many  kinds  of  white  roses  ? 

9.  How  many  of  pink  and  red  roses  ? 

10.  Are  there  yellow  roses  ? 

11.  Are  there  not  many  kinds  of  climbing  roses  ? 

12.  Which  is  the  most  beautiful  of  these  ? 

13.  What  kind  of  a  flower  is  the  wild  rose  ? 

14.  Is  not  the  "  sweet-brier"  a  species  of  rose  ? 

15.  How  does  this  grow  ? 

16.  In  what  countries  are  roses  most  beautiful  and  abundant? 

17.  Are  they  not  more  fragrant,  also,  in  southern  regions  ? 

18.  What  delicious  perfume  is  obtained  from  them  ? 

19.  Why  is  this  very  highly  esteemed  ? 


FIRST  BOOK  IN   COMPOSITION.  87 


TO    TEE  PUPIL. 

SUBJECT    NO.    4. 

Every  one  has  seen  more  than  one  kind  of  rose ;  for  there 
is  no  flower  of  which  there  are  so  many  varieties  as  this.  You 
may  give  the  reasons  why  it  is  called  "  Queen  of  Flowers," 
and  also  name  and  describe  the  various  kinds  you  have  seen, 
speaking  particularly  of  the  differences  of  color  and  of  fra- 
grance in  these,  and  giving  the  reasons  for  their  names. 

You  must  not  forget  the  moss-rose,  and  the  beautifiil  va- 
riety of  climbing  roses.  You  can  speak  of  the  luxuriant 
growth  of  these  latter,  the  profusion  of  their  blossoms,  and 
the  appearance  of  a  house  or  porch  covered  by  one  in  full 
blossom.  The  "  wild  rose,"  tpo,  and  especially  the  "  sweet- 
brier,"  you  may  describe,  and  compare  them  with  the  garden 
roses. 

In  describing  any  given  rose,  you  should  endeavor  to  apply 
the  rule  given  in  the  preceding  instructions,  and  speak  of 
those  qualities  in  color,  size,  fragrance,  or  manner  of  growth, 
or  whatever  it  may  be,  by  which  it  is  distinguished  from  other 
roses. 

You  can  mention,  also,  the  superior  size  and  fragrance  of 
the  roses  of  southern  regions,  and  the  kind  of  perfame  ob- 
tained from  them. 


FIRST  BOOK   IN   COMPOSITION. 


SUBJECT    NO,    5. 


WATER-LILIES. 


1.  Are  not  these  blossoms  among  tlie  loveliest  objects  in 
the  world  ? 

2.  Do  they  not  grow  in  beautiful  places  ? 

3.  How  does  a  lake  or  pond  look  when  covered  with  them? 

4.  What  color  is  the  flower,  and  what  kind  of  a  centre 
has  it? 

5.  Do  not  these  blossoms  appear  to  float  upon  the  water  ? 

6.  What  kind  of  leaves  are  they  surrounded  by  ? 

7.  Where  are  the  roots  of  the  plant  ? 

8.  How  are  the  blossoms  and  leaves  connected  with  the  root  V 

9.  Is  not  this  stem  very  long  and  flexible  ? 

10.  At  night,  does  this  flower  close  up  ? 

11.  How  does  it  appear  then  ? 

12.  How  are  these  flowers  gathered  ? 

13.  Is  it  not  delightfal  to  go  in  a  boat  to  gather  them  ? 

14.  How  can  the  long  stems  be  secured  ? 

15.  In  reaching  over  for  them,  must  one  not  be  carefui 
about  upsetting  the  boat  ? 

16.  Is  not  a  fresh  bunch  of  these  lilies  a  splendid  bouquet  ? 

17.  Have  thev  not  a  fresh,  delicious  fragrance  ? 


FIRST  BOOK  IN   COMPOSITION.  89 


TO    TEE  PUPIL, 


SUBJECT    NO.    6. 

No  one  can  see  these  beautiful  flowers  floating  upon  the 
water,  without  a  feeling  of  delight  and  admiration.  You  can 
describe  the  appearance  of  a  lake  or  pond  covered  with  them ; 
the  freshness  and  purity  of  the  white  blossoms ;  the  manner 
in  which  they  rest  upon  the  water ;  the  color  of  the  outside 
petals,  and  the  appearance  of  the  flower  when  closed ;  the 
pointed  green  buds ;  the  shape  and  texture  of  the  leaves,  and 
the  peculiarly  flat  manner  in  which  they  lie  upon  the  water  : 
also,  the  kind  of  stem  which  connects  the  flowers  and  leaves 
with  the  roots  of  the  plant. 

You  can  describe  the  life  of  these  flowers  in  the  lovely 
places  which  are  their  favorite  haunts ;  the  banks  of  the  ponds 
and  streams  in  which  they  grow ;  the  shadows  and  breezes 
which  p]ay  over  them;  the  little  fishes  which  dart  about 
among  them,  under  the  shelter  of  their  broad  flat  leaves;  and 
the  little  bays  or  coves  which  they  cover  with  their  blossoms. 

You  can  speak,  too,  of  the  way  in  which  these  flowers  are 
gathered ;  how  they  must  be  pulled  in  order  to  secure  long 
stems ;  the  danger,  in  reaching  too  far,  of  upsetting  the  boat ; 
the  pleasure  of  drawing  in  the  lilies,  one  after  another ;  the 
beauty  of  a  fresh  bouquet  of  them ;  and  their  delicious  fra- 
grance. 


90  FIRST  BOOK  IN  COMPOSITION. 


SUBJECT    NO.    6. 

REGESS: 

1.  Is  not  this  always  tlie  delight  of  all  schools  ? 

2.  At  what  hour  does  it  generally  come  ? 

3.  Is  not  the  last  half  hour  before  recess  a  time  of  anxious 
watching? 

4.  Do  not  the  minutes  seem  to  go  very  slowly  ? 

5.  When  the  bell  at  last  rings,  what  happens  ? 

6.  Is  it  not  a  scene  of  confusion  ? 

7.  If  it  is  summer,  what  does  every  one  do  ? 

8.  How  is  your  schoolroom  situated  ? 

9.  What  kind  of  a  playground  have  you  ? 

10.  What  games  do  you  play  in  it  ? 

11.  In  winter,  how  is  the  recess  spent  ? 

12.  What  do  the  older  pupils  do  ? 

13.  What  do  the  younger  ones  do  ? 

14.  What  games  are  then  most  popular  ? 

15.  Does  not  recess  appear  to  fly  by  very  quickly  ? 

16.  What  happens  when  the  bell  rings   for  study-hours 
again  ? 

17.  In  a  few  minutes,  is  not  every  thing  changed? 

18.  What  is  every  one  doing  ? 


FIRST  BOOK  IN   COMPOSITION.  91 


TO'  THE  PUPIL. 


SUBJECT    NO.    6. 

This  is  a  subject  upon  wliicli  every  one  can  write  without 
difficulty;  for  recess  is  the  delight  of  every  papil.  You  can 
describe  the  impatience  with  which  it  is  looked  forward  to  by 
all ;  how  slowly  the  minutes  seem  to  go  by,  before  the  wel- 
come sound  of  the  bell  for  recess ;  then  the  scene  which  fol- 
lows :  if  summer,  the  rush  which  is  made  out  of  doors,  -and 
the  various  amusements  entered  into  by  different  groups,  or 
by  the  whole  school  together.  You  can  describe  the  situation 
of  your  schoolroom,  and  the  pleasant  places  around  it,  which 
are  the  resort  of  the  pupils  at  this  time.  K  there  are  any 
trees  near  it,  you  can  give  a  description  of  these,  and  of  the 
scenes  which  take  place  under  them.  If  there  is  a  brook, 
describe  that,  and  the  sports  connected  with  it ;  or,  if  you 
have  only  a  play-ground,  the  groups  which  cover  it,  and 
the  gapaes  which  are  played  upon  it :  then,  as  the  cold 
weather  comes  on,  the  changes  which  take  place  in  the  sports 
entered  into :  the  various  in-door  games  which  are  introduced. 
You  can  mention  the  most  popular  ones,  and  describe  the 
manner  in  which  they  are  played.  You  can  speak,  too,  of 
the  swiftness  with  which  the  moments  of  recess  fly  by ;  the 
ringing  of  the  bell  for  study-hours  to  recommence ;  and  the 
change  which  then  takes  place  in  the  appearance  of  the  school. 


92  FIRST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    7. 
BLIND  MAN'S  BUFF. 

1.  Is  not  this  one  of  the  most  exciting  games  that  can  be 
played  ? 

2.  Is  any  one  too  old,  or  too  yonng  to  play  it  ? 

3.  What  is  the  first  step  to  be  taken  in  playing  ? 

4.  How  is  the  person  to  be  blindfolded  selected  ? 

5.  Must  not  the  blindfolding  be  done  fairly  ? 

6.  How  do  the  others  satisfy  themselves  about  this  ? 

7.  What  then  takes  place  ? 

8.  What  is  the  object  of  the  person  blindfolded  ? 

9.  What  is  the  object  of  the  others  ? 

10.  Is  it  not  very  difficult  to  catch  any  one  when  one  is 
fairly  blindfolded  ? 

11.  Is  it  not  necessary  to  move  about  cautiously? 

12.  What  is  the  danger  ? 

13.  Does  not  the  blindfolded  person  sometimes  become 
quite  bewildered  ? 

14.  If  he  succeeds  in  catching  any  one,  what  follows  ? 

15.  If  he  does  not  succeed,  and  gives  up,  how  does  the 
game  proceed  ? 

16.  Why  is  it  almost  impossiHa  to  play  this  game  out  of 
doors  ? 


FIRST  BOOK  IN   COMPOSITION.  93 


TO    THE  PUPIL, 


SUBJECT    NO.    7. 

This  game  is  a  great  favorite  witli  every  one,  especially  on 
Thanksgiving,  or  similar  occasions.  You  may  describe  the 
zeal  with  which  it  is  entered  into  at  such  times  ;  the  curious 
string  of  words  with  which  the  one  to  be  blindfolded  is 
chosen,  and  the  meaning  of  these  words,  if  you  can  suggest 
any.  You  may  describe,  also,  the  various  ways  which  are 
tried  to  prove  that  the  blindfolding  has  been  fairly  done : 
then,  when  this  point  has  been  ascertained,  the  general  run- 
ning and  dodging,  and  shouting  and  screaming  which  takes 
place ;  the  cautious  groping  of  the  blindfolded  person,  and 
the  bewildered  manner  in  which  he  runs  about ;  the  devices 
of  the  others  to  confuse  him,  and  to  get  out  of  his  way  when 
he  approaches  them :  also  what  takes  place  when  he  succeeds 
in  catching  hold  of  one ;  the  struggles  of  the  person  caught 
to  get  free ;  the  endeavors  of  the  catcher  to  guess  whom  he 
has  caught,  and  if  he  is  successful  in  this,  the  manner  in 
which  the  game  proceeds. 

You  can  mention  the  antiquity  of  this  game,  and  give  an 
account  of  its  origin,  if  you  can  learn  any  thing  about  it. 
You  can  speak,  also,  of  the  reasons  why  it  is  an  especial 
favorite  with  children. 


94  FIRST  BOOK   IN   COMPOSITION". 


SUBJECT    NO.    8. 

A  PIG-NIG. 

1.  Was  the  Pic-nic  much  talked  of  beforehand  ? 

2.  "What  was  the  place  fixed  upon  for  it  ? 
8.  What  kind  of  a  place  was  it  said  to  be  ? 

4.  What  was  the  time  fixed  upon  for  going  ? 

5.  What  preparations  were  made  ? 

6.  What  were  the  baskets  filled  with  ? 

7.  When  the  day  came,  was  it  clear  or  doubtful  weather  ? 

8.  Did  you  ride  or  walk  ? 

9.  Was  the  road  a  pleasant  one  ? 

10.  At  what  time  did  you  arrive  at  the  Pic-nic  ground  ? 

11.  How  was  it  situated  ? 

12.  What  took  place  upon  arriving  ? 

13.  What  preparations  were  made  for  the  dinner  ? 

14.  How  was  the  table  arranged  ? 

15.  Was  not  the  dinner  scene  a  merry  one  ? 

16.  What  followed  after  dinner  ? 

17.  How  late  in  the  afternoon  did  you  stay  ? 

18.  Was  the  ride  home  a  pleasant  one  ? 

19.  Was  there  a  brilliant  sunset  to  be  seen  ? 

20.  What  changes  did  it  pass  through  ? 


FIBST  BOOK  IN   COMPOSITION.  95 


TO    TEE  PUPIL, 


SUBJECT    NO.    8. 

Yerj  few  Pic-nics  are  got  up  and  carried  througli  without 
a  great  deal  of  talking  and  planning ;  sometimes  the  plan  is 
proposed  several  weeks  before  it  is  carried  into  execution. 

You  can  mention  how  long  beforehand  the  Pic-nic  jou 
describe  was  talked  about ;  the  discussions  with  respect  to  the 
preparations ;  the  packing  of  the  baskets ;  the  doubts,  hopes, 
and  fears  with  regard  to  the  weather ;  the  arrival  of  the  day ; 
the  assembling  of  the  party ;  and  the  manner  in  which  you 
rode  or  walked.  You  can  describe,  also,  your  adventures  by 
the  way,  or  any  amusing  circumstance  which  may  have  hap- 
pened ;  the  dispersing  of  th6  party  in  various  groups  on  arri- 
val at  the  Pic-nic  ground ;  the  manner  in  which  they  occu- 
pied themselves;  the  situation  of  the  Pic-nic  ground;  the 
search  for  a  pleasant  dining-room;  the  different  places  pro- 
posed ;  the  one  finally  decided  upon ;  its  advantages  over  the 
other  places ;  the  scene  which  ensued ;  the  unpacking  of  the 
baskets ;  the  arrangement  of  the  table ;  and  the  various  pre- 
parations for  the  dinner :  then  the  assembling  of  the  party  at 
dinner,  and  how  the  afternoon  was  spent.  You  can  give  a 
description,  also,  of  the  ride  home,  and  of  a  beautiful  sunset 
seen  upon  the  way. 


96  FIRST   BOOK   IN   COMPOSITION. 


SUBJECT    NO.     9. 

A  SLEian-RIDE. 

1.  Under  wliat  circumstances  was  the  ride  taken  ? 

2.  Who  were  your  companions  ? 

3.  Was  the  sleighing  fine  ? 

4.  What  kind  of  a  day  was  it  ? 

6.  What  precautions  did  you  take  against  the  cold  ? 

6.  What  kind  of  a  sleigh  was  it  ? 

7.  Did  you  fly  along  rapidly  ? 

8.  What  road  did  you  take  ? 

9.  Was  there  much  snow  to  be  seen  ? 

IT).  How  did  the  mountains  and  hills  appear  ? 

11.  The  trees  and  bushes  ? 

12.  The  ponds  and  streams  ? 

13.  How  would  these  have  appeared  if  it  had  been  summer? 

14.  Was  it  not  exciting  to  feel  yourself  going  along  so  fast  ? 

15.  Did  you  meet  many  sleighs  ? 

16.  Did  not  fingers  and  toes  begin  to  freeze  at  last  ? 

17.  In  spite  of  the  cold,  however,  did  you  not  enjoy  the 
ride? 

18.  Was  it  not  pleasant  to  get  back  again  by  the  warm  fire 
at  home  ? 


FIRST  BOOK  IN   COMPOSITION.  97 


TO    THE  PUPIL, 


SUBJECT    NO.    9. 

In  describing  a  sleigh-ride,  you  can  speak  of  the  exhilara- 
ting effect  of  the  bracing  air ;  the  clear  blue  skj ;  the  bright 
sun ;  the  swiftness  of  the  motion,  and  the  sound  of  the  sleigh- 
bells.  You  can  contrast,  also,  the  scenery  which  you  saw, 
with  the  same  in  its  summer  dress;  the  bleakness  of  the 
mountains  and  hills ;  the  clear,  distinct  outlines,  so  different 
from  the  soft  warm  haze  of  summer :  then  the  trees,  with  their 
thousand  leafless  twigs,  with  their  appearance  in  summer ;  the 
ponds  and  streams,  stiff  in  their  icy  covering,  with  their  sum- 
mer life  and  beauty. 

By  calling  up  vividly  before  your  mind  the  landscape  as  it 
is  in  summer,  you  will  be  better  able  to  describe  the  changes 
wrought  by  Winter,  with  his  frost  and  snow,  in  every  part  of 
it,  for  you  will  feel  more  keenly  what  he  has  taken  from  it, — 
from  the  fields,  from  the  brooks,  from  the  trees,  the  hills,  the 
skies,  and  the  air. 

You  can  describe,  also,  the  beauties  of  a  winter  landscape; 
the  pure  white  snow ;  the  sparkling  of  ice  in  the  sunbeams ; 
the  evergreens  loaded  with  snow,  and  the  deep  blue  sky 
above  it  all ;  also  the  gradual  freezing  up  of  all  ideas,  and  the 
pleasure  of  being  again  by  the  warm  fireside. 


98  FIRST  BOOK   IN   COMPOSITION. 


SUBJECT    NO.    10. 
A   MENAGERIE 

1.  What  was  the  arrival  of  the  Menagerie  preceded  by  ? 

2.  What  did  the  handbills  announce  ? 

3.  Did  it  not  awaken  a  great  deal  of  expectation  and 
curiosity  ? 

4.  Was  not  the  entrance  of  the  Menagerie  a  time  of  great 
excitement  ? 

5.  Did  not  everybody  turn  out  to  witness  it  ? 

6.  What  headed  the  procession  ? 

7.  What  were  the  musicians  seated  in  ? 

8.  What  followed  ? 

5.  What  did  these  cages  contain  ? 

10.  In  what  kind  of  a  place  was  the  Menagerie  exhibited  ? 

11.  How  were  the  cages  arranged  in  this  tent  ? 

12.  Was  there  not  a  great  crowd  in  attendance  ? 

13.  What  animals  interested  you  most  ? 

14.  Did  the  keeper  enter  the  lion's  cage  ? 

15.  How  did  he  manage  it  ? 

16.  What  performances  took  place  with  the  monkeys  ? 

17.  What  with  the  elephants  ? 

18.  Was  not  the  exhibition  fatiguing  ? 

19.  Were  you  not  glad  when  it  was  over  ? 


FIRST  BOOK  IN   COMPOSITION.  99 


TO    TEE  PUPIL. 

SUBJECT    NO.    10. 

You  can  describe  the  handbills  or  advertisements  which 
generally  precede  the  arrival  of  a  menagerie  in  any  place ;  the 
wonderful  attractions  they  always  offer,  and  the  excitement 
which  this  creates  among  the  children :  then  the  triumphal 
entry  of  the  caravan  on  the  day  appointed ;  the  music ;  the 
magnificence  of  the  musician's  car ;  the  trappings  of  the  horses 
and  the  elephants ;  the  singular  effect  produced  by  those  of 
the  elephants ;  the  number  of  wagons  or  cages  which  follow, 
and  the  crowd  which  this  sight  attracts :  then  the  opening  of 
the  exhibition ;  the  various  animals  and  their  performances, 
particularly  the  elephant;  the -manner  in  which  he  eats  an 
apple,  or  any  thing  else  which  is  given  him.  You  can  de- 
scribe the  character  of  the  elephant,  and  relate  any  anecdotes 
you  may  have  read  in  illustration  of  any  of  his  traits.  You 
can  speak,  also,  of  the  habits  of  this-  animal  in  his  wild  state ; 
of  the  countries  in  which  he  is  found ;  what  he  lives  upon ; 
the  size  to  which  he  sometimes  grows;  and  the  manner  in 
which  he  is  caught  and  tamed.  You  can  mention,  also,  the 
animals  with  which  you  were  most  pleased,  and  describe 
them ;  also,  the  wonderful  feats  of  the  monkeys,  and  the  way 
the  keeper  managed  the  lion  when  he  entered  the  cage,  or  any 
thing  else  which  interested  you. 


100  FIKST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    11. 


A   FA  IB, 


1.  Are  there  not  many  kinds  of  Fairs  ? 

2.  For  what  different  purposes  are  thej  held  ? 
8.  What  is  the  object  of  a  Horticultural  Fair? 

4.  What  does  the  display  consist  of  then  ? 

5.  What  is  the  object  of  an  Agricultural  Fair? 

6.  What  takes  place  then  ? 

7.  Are  not  Fairs  often  held  for  the  purpose  of  raising 
money  ? 

8.  What  does  the  exhibition  generally  consist  of  then  ? 

9.  How  is  it  conducted  ? 

10.  Did  you  ever  attend  such  a  Fair  ? 

11.  Did  you  ever  assist  in  getting  one  up  ? 

12.  How  was  the  room  decorated  ? 

13.  How  were  the  tables  arranged? 

14.  What  kind  of  articles  were  for  sale  upon  them  ? 

15.  By  whom  were  these  sold  ? 

16.  Was  there  a  post-office  in  the  Fair  ? 

17.  How  was  this  conducted  ? 

18.  Were  there  many  visitors  ? 

19.  Were  most  of  the  articles  sold  ? 

20.  How  long  did  the  Fair  last? 

21.  How  did  it  end? 


FIRST  BOOK  IN  COMPOSITION.  101 


TO    TEE  PUPIL. 
SUBJECT    NO.    11. 

You  can  speak  of  the  different  objects  for  wliicli  Fairs  are 
held,  and  mention  those  which  are  most  common,  and  what 
each  of  these  is  called.  You  can  describe  the  display  of 
flowers,  fruits,  and  vegetables,  at  a  Horticultural  Fair,  and  the 
manner  in  which  this  is  generally  conducted ;  also,  an  Agri- 
cultural Fair,  in  which  a  cattle  show  is  the  most  prominent 
feature :  both  these  afford  great  scope  for  description,  particu- 
larly the  latter,  in  the  variety  of  animals  exhibited,  and  the 
various  ways  in  which  superiority  among  them  is  tested. 
If  you  prefer  to  describe  this  kind  of  fair,  you  can  give  an  ac- 
count of  the  preparations  made  for  it  by  the  farmers  for  weeks 
beforehand.  You  can  describe,  also,  the  place  where  the  ex- 
hibition was  held ;  then  the  morning  of  the  fair ;  the  trains  of 
animals ;  bands  of  music  and  crowds  of  wagons ;  the  different 
kinds  of  noises ;  then  the  various  parts  of  the  exhibition,  and 
the  distribution  of  prizes. 

Fairs  are  also  often  held,  in  order  to  raise  money  for  benevo- 
lent purposes.  You  can  speak  of  the  manner  in  which  these 
are  generally  got  up ;  how  the  various  articles  to  be  sold  are 
furnished ;  the  decorations  of  the  rooms ;  the  arrangement  of 
the  different  tables ;  the  company  present,  &c. :  also,  who  pre- 
sided at  the  tables;  how  long  the  Fair  continued;  and  the 
amount  raised  by  the  sale  of  the  article*^  a   w.-  - 


102  FIRST  BOOK  IN  COMPOSITION. 


SUBJECT    NO.    12. 


TEANKsaiYinra. 


1.  What  is  Thanksgiving  ? 

2.  By  whom  was  this  festival  first  celebrated  ? 

3.  Under  what  circumstances  ? 

4.  Was  it  not  at  first  celebrated  only  in  New  England  ? 

5.  Is  it  not  now  observed  by  many  other  States  ? 

6.  How  long  beforehand  do  children  begin  to  count  the 
days  and  weeks  to  Thanksgiving  ? 

7.  What  preparations  are  made  for  it  in  the  kitchen  ? 

8.  How  many  kinds  of  pies  and  puddings  ? 

9.  What  kind  of  pie  figures  most  prominently  ? 

10.  What  does  the  farmer  bring  to  market  ? 

11.  What  is  the  principal  thing  to  be  secured  ? 

12.  Are  the  poor  forgotten  in  these  preparations  ? 

13.  How  is  the  morning  of  Thanksgiving  day  occupied  ? 

14.  After  church,  what  takes  place  ? 
16.  How  does  the  table  look  ? 

16.  How  does  the  dinner  go  off? 

17.  How  are  the  afternoon  and  evening  spent  ? 

18.  Is  not  this  a  great  day  for  family  meetings  ? 

19.  Does  not  every  one  try  to  be  at  home  then  ? 

20.  Ought  not  this  festival  always  to  be  observed  ? 


FIRST  BOOK  IN   COMPOSITION.  103 


TO    TEE  PUPIL. 


SUBJECT    NO.    12. 

Every  one  knows  that  Thanksgiving  is  a  religious  festival 
of  rejoicing  and  giving  thanks.  In  writing  upon  this  subject, 
you  may  mention  the  circumstances  in  which  it  originated, 
and  the  manner  of  its  first  observance.  You  can  describe, 
also,  the  present  mode  of  observing  the  day;  the  pleasure 
with  which  it  is  anticipated  by  every  one ;  the  divers  kinds  of 
pies  and  puddings  concocted  for  the  occasion ;  the  dreadful 
slaughter  of  turkeys,  geese,  and  chickens — the  articles  which 
the  farmer  brings  to  market,  the  fat  turkey  which  every  one 
looks  out  for :  then  the  manner  in  which  Thanksgiving  day 
is  spent ;  the  various  games  which  occupy  the  afternoon  and 
evening.  You  can  describe  a  family  party  gathered  on  Thanks- 
giving evening;  the  different  ages  of  the  persons  who  are 
brought  together,  and  who  all  share  alike  in  these  games. 
You  can  speak  of  some  one  occasion  of  this  kind  which  you 
may  have  enjoyed  very  much,  and  give  an  account  of  the 
amusements  entered  into,  and  all  the  pleasant  things  which 
occurred.  You  can  speak,  also,  of  the  manner  in  which  the 
poor  are  remembered  on  this  occasion ;  also  of  the  pleasant 
family  gatherings  which  always  take  place  at  this  time,  and 
of  the  various  beneficial  efl!ects  resulting  from  the  observance 
of  this  festival. 


104  FIRST  BOOK  IN  COMPOSITION. 


SUBJECT    NO.    13. 
FOURTH   OF  JULY, 

1.  What  is  the  origin  of  this  celebration  ? 

2.  What  is  the  date  of  the  event  it  commemorates  ? 

3.  Is  it  a  religious  festival,  like  Thanksgiving  ? 

4.  Is  it  observed  all  over  the  Union  ? 

5.  What  preparations  are  made  for  it  ? 

6.  Do  not  boys  begin  weeks  beforehand  to  save  their 
money  for  it  ? 

7.  What  do  they  spend  it  in  ? 

8.  How  does  the  day  open  ? 

9.  How  many  cannons  are  fired  ? 

10.  What  is  this  followed  by  ? 

11.  What  sounds  are  heard  incessantly  ? 

12.  Are  there  not  great  crowds  to  be  seen  everywhere  ? 

13.  What  is  seen  at  every  corner  ? 

14.  What  is  sold  at  these  stalls  ? 

15.  Is  there  not  a  great  deal  of  molasses  candy  sold  by 
small  boys  ? 

16.  How  do  they  carry  it  about  ? 

17.  How  does  the  day  end  ? 

18.  What  sometimes  takes  place  in  the  evening  ? 

19.  Does  not  this  day  commemorate  the  greatest  event  in 
our  history  ? 

20.  Ought  not  its  observance  to  be  perpetuated  ? 


FIRST  BOOK  IN   COMPOSITION.  105 


TO    THE  PUPIL, 


SUBJECT    NO.    13. 

The  mention  of  this  subject  brings  up  to  every  one  memo- 
ries of  scenes  which  are  repeated  on  every  return  of  the  day ; 
of  cannons,  soldiers,  parades,  drunken  men,  fighting  men, 
crowds  of  men,  women,  and  children,  horses  and  carriages, 
fii:e-crackers  incessantly  sounding,  boys  with  molasses  candy, 
stalls  of  apples  and  gingerbread:  from  early  morning,  when 
one  is  wakened  by  the  roar  of  the  cannons,  till  late  at  night, 
after  the  last  cracker  has  been  fired  and  the- last  skyrocket 
sent  up,  there  is  no  peace  for  eyes  or  ears.  All  these  vari- 
ous sights  and  sounds  you  may  describe  in  any  order  you 
please ;  or  you  may  give  an  account  of  a  Fourth  of  July 
which  was  celebrated  in  some  particular  manner — ^by  a  pic- 
nic, or  some  kind  of  procession ;  and  describe  the  arrange- 
ments for  the  occasion ;  the  manner  in  which  it  passed  off ; 
the  speeches  which  were  made,  &c. 

You  may  precede  your  description  of  the  celebration  of  this 
day,  if  you  choose,  with  a  brief  history  of  the  War  of  the 
Kevolution,  the  success  of  our  struggles,  the  Declaration  of 
Independence,  anS.  the  manner  in  which  this  was  drawn  up 
and  signed.  You  will  find  UU  these  particulars  in  any  history 
of  the  United  States. 


106  FIRST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    14. 

CHRISTMAS. 

1.  Is  this  an  American  festival,  like  Fourth  of  July  or 
Thanksgiving  ? 

2.  How  did  it  originate  ? 

8.  What  did  it  at  first  commemorate  ? 

4.  How  is  it  observed  in  this  country  ? 

5.  What  do  children  do  the  night  before  Christmas  ? 

6.  What  do  they  expect  to  find  in  the  morning  ? 

7.  Who  are  they  told  will  fill  their  stockings  ? 

8.  What  sort  of  a  person  is  Santa-Claus  said  to  be  ? 

9.  How  is  he  dressed  ? 

10.  How  does  he  get  about  ? 

11.  What  does  he  carry  in  his  sleigh  ? 

12.  How  does  he  enter  the  house  in  the  night  ? 

13.  What  does  he  leave  in  naughty  children's  stockings  ? 

14.  What  takes  place  on  Christmas  morning  ? 

15.  Are  the  children  not  up  before  daylight  ? 

16.  What  greetings  are  heard  all  over  the  house  ? 

17.  Does  not  Santa-Claus  sometimes  get  up  a  Christmas 
tree? 

18.  How  does  he  manage  this  ? 

19.  Is  not  this  day  observed  religiously  by  many  ? 

20.  How  are  the  churches  decorated  for  the  occasion  ? 

21.  Do  they  not  present  a  beautiful  appearance  ? 


FIRST  BOOK  IN   COMPOSITION.  107 


TO    THE  PUPIL. 


SUBJECT    NO.    14. 

This  festival  is  not,  like  Thanksgiving  and  Fourth  of  July, 
of  American  origin,  but  it  has  been  celebrated  for  many  hun- 
dred years  as  the  anniversary  of  the  most  important  event  in 
the  world's  history — the  birth  of  Christ — and  because  this  event 
brought  joy  to  the  world,  it  was  celebrated  as  a  day  of  rejoi- 
cing ;  at  first  religiously,  and  it  is  so  observed  by  many  persons 
at  this  day :  many  churches  are  beautifully  decorated  with 
evergreens,  and  opened  for  religious  services. 

With  children,  however,  this  has  become  a  great  day  for 
.  receiving  gifts :  they  find  their  stockings  full  of  all  sorts  of 
good  things  on  Christmas  morning,  and  they  are  told  that  a 
certain  Santa-Claus,  whose  name  was  originally  St.  Nicholas, 
a  little  old  man,  queerly  dressed  in  furs,  and  driving  a  sleigh 
drawn  by  six  little  reindeer,  enters  the  house  by  coming 
down  the  chimney,  and  fills  their  stockings. 

Almost  every  one  has  some  fancy  about  this  Santa-Claus 
and  his  visits.  You  can  give  a  description  of  him  as  you 
imagine  him  to  be ;  of  all  the  particulars  of  his  dress ;  of  the 
presents  he  carries ;  of  the  size  and  shape  of  his  sleigh,  and 
the  trappings  of  the  reindeer ;  or  any  impression  you  may 
have  concerning  him.  You  can  speak,  also,  of  the  manner  in 
which  you  are  accustomed  to  observe  this  day. 


108  FIRST  BOOK  IN  COMPOSITION. 


END   OF  DIVISION  II. 


The  best  direction  which  can  be  given  to  the  pupil  with  respect  to  his 
compositions  upon  the  subjects  which  follow,  is — 

To  gather  his  material  from  a  careful  study  of  nature  itself. 

Let  him,  whenever  he  can,  write  his  composition  with  rocks,  trees, 
and  fields  before  him,  and  his  descriptions  will  have  a  vividness  which 
they  will  never  possess,  written  under  any  other  circumstances. 

Excursions  might  be  made  by  "  composition  parties,"  for  the  purpose 
of  carrying  out  this  direction,  and  the  compositions  written,  as  far  as 
possible,  from  the  point  of  observation,  or  from  notes  taken  upon  the 
spot.    The  exercise  might,  in  this  way,  be  made  a  very  delightful  one. 


110  FIRST   BOOK  IN   COMPOSITION. 


SUBJECT    NO.     1. 

A   MOUNTAIir. 

1.  "What  is  the  highest  mountain  or  rock  you  have  ever 
visited  ? 

2.  Where  is  it? 

8.  "What  is  its  name,  and  why  was  it  so  named  ? 

4.  How  high  is  it  ? 

5.  What  is  its  shape  ? 

6.  Is  it  covered  with  trees,  or  is  it  bare  rock  ? 

7.  Is  it  connected  with  other  hills,  or  does  it  stand  alone  ? 

8.  What  is  the  appearance  of  the  range  to  which  it  belongs? 

9.  Is  the  ascent  to  the  mountain  difficult  ? 

10.  Is  the  view  from  the  top  fine  ? 

11.  At  what  season  did  you  see  it  ? 

12.  At  what  time  in  the  day  ? 

18.  Was  the  atmosphere  clear  or  hazy  ? 

14.  What   lay  at  the  foot  of  the   mountain — a  river   or 
meadows  ? 

15.  Beyond,  what  was  seen — ^villages,  lakes,  or  a  town  ? 

16.  What  bounded  the  view  in  the  horizon  ? 

17.  How  does  this  view  compare  with  others  you  have  seen? 


FIRST  BOOK  IN   COMPOSITION.  Ill 


TO    THE  PUPIL, 


SUBJECT    NO.    1. 

You  may  describe  some  mountain  you  have  visited  or  seen, 
placing  its  name  at  the  head  of  your  composition  as  your  sub- 
ject;  or,  better  still,  you  may  visit  some  elevation  in  your 
vicinity  from  which  a  fine  prospect  may  be  seen,  and  answer 
these  questions  from  the  point  of  view  itself 

K  you  describe  things  as  you  actually  see  them  before  you, 
your  description  will  be  life-like — that  is,  it  will  portray  ob- 
jects as  they  really  are,  at  a  given  time;  but  if  you  trust  to 
your  memory,  you  will  be  apt  to  use  only  general  terms, 
which  are  not  capable  of  conveying  definite  images  to  the 
mind. 

Remember  that,  in  all  descriptions  of  nature,  it  is  not  so 
much  the  objects  themselves  about  which  you  are  to  concern 
yourself,  as  these  objects  seen  under  some  particular  light — 
for  what  is  true  of  them  at  one  time  may  be  false  at  another : 
the  spire  of  a  church,  for  instance,  under  a  cloudy  sky,  is  one 
uniform  color,  whatever  it  may  be ;  while,  in  the  rays  of  the 
setting  or  the  rising  sun,  one  half  will  be  in  dazzling  light, 
and  the  other  half  in  deep  shadow,  and  so  all  objects  are  being 
continually  transformed  by  changing  lights  and  shadows. 


112  FIRST  BOOK   IN   COMPOSITION. 


SUBJECT    NO.    2. 

A   BROOK, 

1.  Is  there  a  brook  near  where  you  live  ? 

2.  Does  it  run  fast  or  slow  ? 

3.  Is  its  bed  stony  or  clear  ? 

4.  Is  it  noisy  or  still  ? 

6.  Does  it  wind  about  mucli  ? 

6.  Does  it  pass  through  woods  and  meadows  ? 

7.  What  kind  of  trees  shade  it  in  the  woods  ? 

8.  "What  grows  on  its  banks  ? 

9.  What  fringes  its  sides  in  the  meadows  ? 

10.  What  kind  of  bushes  mark  its  course  ? 

11.  Are  there  any  fishes  in  the  brook  ? 

12.  What  kind  are  they  ? 

13.  Did  you  ever  catch  any  ? 

14.  How  did  you  manage  this  ? 

15.  Did  you  ever  launch  any  little  boats  in  it  ? 

16.  What  became  of  them  ? 

17.  Did  you  ever  tumble  into  the  brook  ? 

18.  How  did  it  happen  ? 

19.  Did  you  ever  wade  about  in  the  brook  ? 

20.  Is  it  not  pleasant  to  do  this  in  a  warm  summer  day. 


FIRST  BOOK  IN  COMPOSITION.  113 


TO    THE  PUPIL, 

SUBJECT    NO.    2. 

You  may  put  the  name  of  tlie  brook  you  describe  at  the 
head  of  your  composition,  as  your  subject ;  or,  if  it  has  no 
name,  you  can  invent  one  for  it,  which  will  have  an  agreeable 
sound  and  at  the  same  time  be  descriptive  of  some  of  its  quali- 
ties— such  as  "  Winding  Brook,"  "  Stony  Brook,"  or  "  Merry 
Brook,"  or  whatever  it  may  be  :  also,  in  your  descriptions  of 
the  scenes  through  which  it  passes,  remember  to  individualize 
as  much  as  possible ;  that  is,  instead  of  using  general  terms, 
such  as  "  flower,"  "bush,"  "  tree,"  which  convey  only  general 
ideas  to  the  mind,  name  an  individual  flower,  bush,  or  tree, 
which  calls  up  some  particular  image.  It  is  this  individual- 
izing wich  gives  vividness  to  a  description.  For  example,  the 
particular  terms,  "  blue  meadow-lily,"  "  golden  buttercup," 
"  red  barberry-bush,"  "  dark  hemlock,"  each  convey  a  distinct 
image  to  the  mind,  and  give  it  a  peculiar  feeling  of  pleasure, 
vrhich  it  does  not  receive  from  the  general  terms  "flower," 
"bush,"  "tree." 

Remember,  also,  that  an  object  must  be  described,  not  only 
by  some  striking  quality,  but  also  by  some  particular  aspect : 
thus,  if  you  were  describing  a  barberry-bush  in  blossom,  you 
would  not  speak  of  it  as  red;  and  so  with  all  other  objects. 


114  FIRST   BOOK   IN   COMPOSITION. 


SUBJECT    NO.    8. 

A    WATERFALL, 

1.  Did  you  ever  visit  any  waterfall  ? 

2.  "Where  was  it  ? 

3.  What  was  it  called  ? 

4.  Why  was  it  so  called  ? 

5.  Under  what  circumstances  did  you  visit  it  ? 

6.  Was  the  approach  to  the  fall  easy  or  difficult  ? 

7.  Was  it  through  a  ravine  ? 

8.  What  kind  of  a  ravine  was  it  ? 

9.  Was  the  bed  of  the  brook  rocky  ? 

10.  Did  you  hear  the  fall  before  you  saw  it  ? 

11.  Did  you  first  see  it  from  above  or  below  ? 

12.  What  was  the  scenery  around  the  fall  ? 

13.  Over  what  kind  of  rocks  did  the  water  fall  ? 

14.  How  high  was  the  fall  ? 

15.  Did  it  fall  in  one  sheet,  or  was  it  broken  up  ? 

16.  Sow  was  it  broken  up  ? 

17.  What  was  the  sound  of  the  falling  water  ? 

18.  How  did  the  stream  below  the  fall  appear  ? 

19.  Were  there  any  falls  below  this  one  ? 

20.  What  was  the  course  of  the  stream  ? 

21.  Did  it  come  out  into  quiet  meadows  at  last  ? 


FIRST  BOOK  m  COMPOSITION.  115 


TO    THE  PUPIL. 
SUBJECT    NO.    3. 

Under  tliis  subject  you  can  describe  a  visit  to  some  water- 
fall, taking  its  name  as  the  subject  of  your  composition. 

The  approach  to  a  waterfall  is  almost  always  wild  and 
picturesque,  and  it  is  therefore  a  good  subject  for  description. 
By  the  term  ^'' picturesque^^''  is  meant  *'  that  which  would  he  beau- 
tiful in  a  picture  f^  and  in  the  turnings  and  windings  of  a 
ravine  there  are  often  a  succession  of  little  views  which  would 
make  beautifiil  pictures  if  they  were  painted.  This  succession 
of  picturesque  views  you  should  endeavor  to  bring  before  the 
mind  in  language.  In  order  to  do  this,  you  should  try  to 
imagine  in  what  way  an  artist  would  represent  the  scene  you 
wish  to  describe — the  lights,  shadows,  and  colors  he  would 
use,  and  how  he  would  arrange  these;  and  remember,  that 
whatever  can  be  represented  in  a  picture^  can  be  expressed  in 
language. 

You  should  have  in  your  mind,  not  merely  a  general,  con- 
fused idea  of  rocks,  stones,  running  water,  wild  places,  and  a 
great  deal  of  scrambling  to  be  done,T3ut'a  distinct  impression 
of  each  successive  view  in  the  approach  to  the  fall,  and  finally 
of  the  fall  itself,  and  describe  each  as  if  it  were  a  picture  by 
itself.  In  this  way  you  will  succeed  in  conveying  to  the 
mind  of  another,  the  impression  which  the  visit  to  the  fall 
made  upon  yourself 


ilt>  FIRST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    4. 


A   SPRING. 


1.  What  is  a  spring  ? 

2.  Where  does  the  water  in  springs  come  from  ? 

8.  What  becomes  of  it  when  it  flows  out  of  the  spring  ? 

4.  What  do  the  brooks  flow  into  ? 

5.  What  becomes  of  the  rivers  ? 

6.  Did  you  ever  see  a  spring  ? 

7.  Where  was  it  ? 

8.  Was  it  shaded  by  trees? 

9.  Were  there  any  flowers,  or  mosses,  or  ferns  around  it  ? 

10.  Did  you  drink  from  it  ? 

11.  Was  the  water  pure  and  cold  ? 

12.  How  deep  was  it  ? 

1-3.  What  became  of  the  water  that  flowed  from  it  ? 

14.  Is  not  a  spring  always  a  stopping  place  for  children  in 
their  rambles  ? 

15.  How  do  they  contrive  to  drink  from  it  ? 

16.  Is  the  water  in  all  springs  cold  ? 

17.  What  do  you  know  about  the  famous  Hot  Springs? 

18.  How  can  they  be  accounted  for  ? 

19.  What  other  kinds  of  springs  are  there  ? 


FIRST  BOOK  IN   COMPOSITION.  117 


TO   THE  PUPIL. 

SUBJECT    NO.    4. 

The  name  of  the  spring  you  describe  you  can  take  for  the 
subject  of  your  composition ;  or,  if  it  has  no  name,  you  should 
give  it  one  which  is  descriptive  of  some  of  its  qualities,  or  of 
something  in  its  situation. 

In  describing  it  you  should  bring  together  all  that  is  de- 
lightftd  about  the  spring,  and  in  the  scenery  around  it,  so 
as  to  form  an  agreeable  picture.  You  can  speak  of  the  man- 
ner in  which  it  is  kept  filled,  and  give  an  imaginary  descrip- 
tion of  the  sources^  deep  in  the  earth,  from  which  the  water 
wells  up,  or  trickles  down  into  its  basin ;  and  then  of  its  out- 
flowing, and  the  beauty  and  verdure  which  gather  around  its 
borders.  You  should  try  to  imagine  that  the  spring  itself  has 
life^  and  feels  as  you  would,  in  its  place ;  and  that  the  trees, 
mosses,  ferns,  and  flowers  which  grow  around  it,  have  feeling 
also :  this  will  give  you  a  keener  perception  of  all  that  is 
pleasant  about  the  places  in  which  they  live. 

You  can  describe,  also,  the  scenes  which  take  place  around 
the  spring ;  the  merry  companies  of  children  that  stop  by  its 
side ;  their  expedients  for  drinking  from  it ;  the  kind  of  cups 
they  make  out  of  leaves,  and  the  success  of  their  experiments, 
and  any  incident  connected  with  these  visits. 


118  FIRST   BOOK   IN   COMPOSITION. 


SUBJECT    NO.    5. 
A   MOONLIGHT  SCENE. 

1.  "Was  it  in  summer  or  in  winter? 

2.  Was  the  moon  just  rising,  or  was  it  higli  in  the  heavens  ? 
>  3.  "Were  there  any  clouds  in  the  sky  ? 

4.  "Were  they  touched  by  the  moon's  light  ? 

5.  Were  there  any  flying  clouds  to  be  seen  ? 

6.  How  did  this  affect  the  light  ? 

7.  What  were  the  most  distant  points  seen  ? 

8.  How  did  the  light  strike  upon  them  ? 

9.  Nearer,  what  was  seen  ? 

10.  Close  at  hand,  what  appeared  ? 

11.  How  would  the  same  scene  have  looked  in  broad  day- 
light? 

12.  Were  not  its  common-place  features  invisible  in  the 
moonlight  ? 

13.  Was  not  all  that  was  fine  seen  in  shadowy  outlines  ? 

14.  Were  the  colors  of  the  landscape  visible  ? 

15.  Was  there  any  thing  seen  but  silvery  lights  and  dark 
shadows  ? 

16.  How  were  these  distributed  over  the  scene  ? 

17.  What  was  the  effect  produced  ? 

18.  How  did  it  compare  with  a  sunset  scene  ? 


FIRST  BOOK   IN   COMPOSITION.  119 


TO    TEE  PUPIL. 
SUBJECT    NO.    5. 

You  may  take  any  seasoii  you  please  for  this  description, 
either  summer,  when  the  effect  of  moonlight  streaming  through 
the  openings  in  the  heavy  foliage  is  so  enchanting ;  or  winter, 
when  the  ground,  covered  with  snow,  reflects  it  with  such 
brilliancy,  and  the  moon  and  stars  are  so  gloriously  beautiful. 
You  should,  however,  describe  a  real  scene,  and  not  an  imagi- 
nary one. 

The  first  thing  to  be  noticed  in  descriptions  of  moon- 
light scenery  is,  absence  of  color — the  sun  is  the  great  painter 
of  the  world,  the  first  touch  of  his  rays  upon  a  landscape 
brings  out  a  multitude  of  colors,  all  fi:esh  and  glowing; 
but  the  moon  is  like  an  artist  who  uses  only  black  crayons, 
nothing  is  seen  in  her  landscapes  but  silvery  lights  and  heavy- 
shadows  ;  these,  however,  she  distributes  with  wondrous  effect 
over  the  scene.  In  your  descriptions,  therefore,  you  should 
be  guided  by  the  great  artist  herself — the  moon — and  bring 
out  in  language  the  points  which  she  touches  with  her  rays, 
and  describe  also  the  sombre  effect  produced  by  those  features 
of  the  scene  over  which  she  casts  a  dark  drapery  of  shadows. 

You  can  speak  of  the  effect  upon  the  mind,  of  these  deep 
shadows ;  the  vague  terrors  of  the  imagination  which  they  in- 
spire. You  can  compare,  also,  with  respect  to  beauty,  a 
moonlight  with  a  sunset  scene. 


120  FIKST  BOOK  IN  COMPOSITION. 


SUBJECT    NO.    6. 

A    THUNDEB'STORM, 

1.  What  kind  of  day  was  it  ? 

2.  In  what  month  ? 

3.  "Were  there  any  signs  of  a  coming  storm  ? 

4.  What  was  the  first  indication  in  the  sky  ? 

5.  How  did  the  clouds  roll  together  ? 

6.  Did  it  grow  very  dark  ? 

7.  Was  there  a  sound  of  rising  wind  ? 

8.  Was  there  distant  thunder  ? 

9.  Were  there  flashes  of  lightning  ? 

10.  As  the  storm  drew  nearer,  did  these  increase  ? 

11.  Did  the  wind  begin  to  roar  among  the  trees  ? 

12.  Did  it  toss  their  branches  ? 

13.  How  did  the  rain  begin  to  fall  ? 

14.  Did  it  increase  rapidly  ? 

15.  Did  it  fall  in  torrents  ? 

16.  Did  it  flood  the  roads? 

17.  Was  any  living  creature  to  be  seen  ?  • 

18.  How  long  did  the  storm  last  ? 

19.  Did  it  clear  away  suddenly  ? 

20.  How  did  every  thing  appear  after  the  storm  ? 

21.  Was  there  a  rainbow  to  be  seen  ? 


FIRST  BOOK   IN   COMPOSITION.  121 


TO    THE   PUPIL. 
SUBJECT    NO.    6. 

Under  tliis  subject  you  may  first  give  a  picture  of  a  drought 
which  preceded  the  storm,  and  describe  the  feeling  of  the  at- 
mosphere and  the  appearance  of  the  earth. 

You  may  mention  individual  plants  and  animals,  and  the 
manner  in  which  they  were  affected  by  the  want  of  rain :  then, 
the  gathering  of  the  storm,  the  rumbling  thunder,  the  rising 
wind,  flashes  of  lightning,  the  rolling  together  of  the  clouds. 

You  can  describe  the  forms  of  the  clouds,  and  the  changes 
that  took  place  in  them  till  they  overcast  the  heavens,  and 
poured  their  deluge  of  rain  upon  the  earth ;  also,  the  manner 
in  which  the  wind  twisted  and  tossed  the  branches  of  the 
trees ;  the  terrific  claps  of  thunder  and  flashes  of  lightning 
in  the  midst  of  the  pouring  rain :  then,  after  the  storm,  the 
refreshed  appearance  of  the  plants  you  had  noticed  as  droop- 
ing under  the  drought.  Also,  in  describing  the  rainbow,  you 
can  speak  of  the  extent  of  the  arch,  the  breadth  of  its  belt  of 
colors,  the  order  of  their  arrangement,  its  brilliancy,  and  its 
fading  away. 

You  can  speak  of  the  cause  of  this  appearance  in  the 
heavens,  and  give  the  reasons  why  it  does  not  follow  every 
thunder-storm.  You  can  also  allude  to  the  promise  which 
was  once  given  in  connection  with  the  rainbow,  and  the  occa- 
sion of  that  promise. 


122  FIKST   BOOK  IN   COMPOSITION. 


SUBJECT    NO.     7. 

A   8N0W-8T0RM. 

1.  Had  the  storm  been  long  in  gathering  ? 

2.  What  was  the  appearance  of  the  sky  ? 

3.  How  did  the  air  feel  ? 

4.  Was  the  ground  hard  and  frozen  ? 

5.  Was  the  landscape  dreary  ? 

6.  How  did  the  flakes  begin  to  fall  ? 

7.  Did  the  storm  increase  ? 

8.  Was  there  any  wind,  or  was  it  still  ? 

9.  Did  the  snow-flakes  fill  the  air  ? 

10.  How  did  every  thing  begin  to  appear — trees,  fences, 
branches,  twigs  ? 

11.  Were  there  any  drifts  ? 

12.  Were  any  sleighs,  or  any  people  to  be  seen  plunging 
through  the  snow  ? 

13.  How  long  did  the  storm  continue  ? 

14.  Did  it  clear  off  bright  and  cold  ? 

15.  How  did  every  thing  look  in  the  sunlight  ? 

16.  Was  not  every  Kttle  twig  loaded  ? 

17.  How  did  the  evergreens  look  ? 

18.  Did  people  begin  to  break  paths  in  the  snow  ? 

19.  Did  the  sleigh-bells  begin  to  be  heard  ? 

20.  Did  not  every  one  rejoice  that  the  storm  was  over? 


FIKST  BOOK  IN   COMPOSITION.  123 


TO    THE  PUPIL, 


SUBJECT    NO.    7 


Under  this  subject  you  wish  first  to  convey  to  the  mind  an 
impression  of  the  peculiar  bleakness  and  chilliness  which 
generally  precedes  a  long  snow-storm.  You  can  describe 
the  various  indications  of  the  coming  snow,  in  the  feeling 
of  the  air  and  the  appearance  of  the  sky ;  the  solid  bank  of 
snow-clouds  in  the  horizon;  then  the  gradual  manner  in 
which  the  storm  begins ;  -the  silent,  leisurely  fall  of  the  snow- 
flakes,  in  contrast  with  that  of  rain-drops ;  the  powdered 
appearance  of  the  earth  after  the  first  sprinkling;  then  the 
increase  of  the  storm ;  the  thick  flakes  filling  the  air ;  the 
increasing  depth  of  the  snow;  the  white  heaps  to  be  seen 
everywhere;  the  wind  whirling  and  sweeping  over  it,  and 
roaring  in  the  tops  of  the  trees :  then  the  bright  clearing  up ; 
the  beauty  of  the  white  snow-drifts  in  the  sunlight,  and  of 
the  loaded  trees — particularly  the  dark  evergreens,  in  contrast 
with  their  white  burden.  , 

Endeavor  always  to  give  the  'particular  aspect  of  whatever 
you  wish  to  describe  :  thus,  "  the  wind  whirls — ^it  sweeps  the 
edges  of  the  drifts,"  is  more  descriptive  than  "the  wind 
blows,"  because  the  former  gives  not  only  the  fact^  but  also 
the  manner  of  the  blowing,  while  the  latter  expresses  nothing 
but  the  fact. 


124  FIKST  BOOK  IN  COMPOSITION. 

SUBJECT    NO.    8. 
AN  AURORA  B0REALI8. 

1.  In  what  regions  are  these  displays  most  brilliant  ? 

2.  In  what  part  of  the  heavens  do  they  always  begin  to 
appear  ? 

3.  Why  are  they  called  "  Northern  Lights  ?" 

4.  What  are  they  called  by  inhabitants  of  some  northern 
regions  ? 

5.  Why  do  they  give  them  the  name  of  "  Merry  Dancers  ?" 

6.  What  was  the  most  brilliant  one  you  ever  saw  ? 

7.  In  what  season  did  it  occur  ? 

8.  At  what  time  in  the  evening  did  you  first  see  it  ? 

9.  Was  the  sky  cloudless,  or  were  there  clouds  ? 

10.  Was  the  moon  visible  ? 

11.  What  was  the  first  appearance  of  the  Aurora  ? 

12.  In  what  way  did  it  increase  ? 

13.  Did  it  assume  any  color  ? 

14.  Were  there  waves  and  columns  of  light  ? 

15.  What  was  the  appearance  of  these  waves  ? 

16.  Did  the  streams  of  light  shoot  up  rapidly  ? 

17.  Did  they  extend  round  the  whole  heavens  ? 

18.  Was  not  the  brilliancy  variable  ? 

19.  When  was  it  greatest  ? 

20.  How  long  did  the  display  continue  ? 

21.  Is  the  cause  of  these  appearances  known  ? 


FIRST  BOOK  IN  COMPOSITION.  125 


TO    THE  PUPIL. 

SUBJECT    NO.     8. 

The  magnificent  displays  of  tlie  Aurora  Borealis,  or  North- 
ern Lights,  occur  most  frequently  in  winter,  though  they 
sometimes  appear  with  great  splendor  in  the  summer  season. 
No  one  has  ever  yet  accounted  for  them  satisfactorily.  We 
know  not  whence  they  come,  nor  whither  they  go ;  and  this 
mystery  hanging  over  their  sudden  appearance  and  disappear- 
ance, adds  greatly  to  the  feeling  of  awe  and  wonder  with 
which  we  view  their  bright  visitations. 

You  can  expand  this  idea,  or  put  it  in  another  form,  as  an 
introduction  to  your  composition,  if  you  choose ;  and  then 
proceed  with  a  description  of  the  appearance  of  the  sky  before 
the  Aurora  began ;  the  clouds  in  the  northern  horizon ;  the 
manner  in  which  the  streams  of  light  shot  out  of  them ;  the 
waves  and  columns  of  light  which  followed ;  the  rapid  changes 
of  motion  and  color  in  these ;  the  extent  and  brilliancy  of  the 
Aurora;  the  time  of  its  continuance,  and  its  final  disap- 
pearance. You  should  study  to  find  a  variety  of  terms  ex- 
pressing rapidity  of  motion  and  brilliancy  of  color ;  such  as — 
darting,  shooting,  streaming,  waving,  glancing,  kindling,  flash- 
ing, luminous,  vivid,  glowing;  and  make  a  careful  use  o1 
these  in  your  description. 

In  doing  this,  you  will  be  much  assisted  by  considering  the 
hints  given  in  the  preceding  instructions. 

I 


126  FIKST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    9. 

A  SUNRISE, 

1.  Was  it  in  summer  or  winter  ? 

2.  From  what  point  did  you  watch  the  sunrise  ? 

3.  What  were  the  distant  features  in  the  view  ? 

4.  What  were  nearer  ? 

5.  What  were  close  at  hand  ? 

6.  What  kind  of  a  light  preceded  the  sunrise  ? 

7.  Did  this  continue  to  grow  brighter  and  brighter  ? 

8.  What  sounds  were  heard  ? 

9.  Were  there  any  clouds  in  the  east  ? 
10.  What  kind  of  clouds  were  they  ? 

11. :  How  did  they  indicate  the  approaching  sunrise  ? 
12.  How  did  they  change,  in  shape  and  color  ? 
18.  What  was  the  first  appearance  of  the  sun  ? 

14.  What  was  the  first  point  touched  by  his  light  ? 

15.  What  was  the  effect  produced  ? 

16.  Was  there  any  dew,  or  frost,  or  mist  seen  in  the  light  ? 

17.  How  did  this  look  ? 

18.  Were  there  any  long  shadows  cast  ? 

19.  By  what  objects? 

20.  Did  these  grow  shorter  and  shorter  ? 

21.  How  long  was  it  before  the  sun  Avas  fairly  risen  ? 


FIRST  BOOK  IN   COMPOSITION.  127 


TO    TEE  PUPIL. 


SUBJECT    KO.    9. 

The  best  advice  that  can  be  given  yon  in  writing  upon  this 
subject  is,  to  describe  an  actual  scene — selecting  some  point 
wbicli  commands  a  pleasant  view,  and  giving  the  changes  as 
they  took  place  under  yonr  own  observation. 

You  should  mention  the  season  in  which  the  sunrise  occur- 
red, the  kind  of  light  which  preceded  the  rising  of  the  sun, 
and  the  appearance  of  the  sky  and  clouds. 

You  should  also  describe  the  various  points  in  the  land- 
scape, as  it  was  spread  out  before  you  in  this  uniform  gray 
light;  and  then,  the  changes  which  took  place  in  each  of 
these  points  successively,  under  the  magic  touch  of  the  sun's 
rays:  also,  the  morning  mist,  the  dew-drops  catching  the 
light,  the  long  shadows,  the  fresh  air,  the  morning  sounds, 
and,  above  all,  the  splendor  of  the  clouds  which  hung  about 
the  pathway  of  the  sun,  and  the  changes  which  occurred  in 
these,  as  he  rose  higher  and  higher:  all  this  is  capable  of 
being  wrought  into  a  beautiful  description. 

Eemember,  it  is  with  description  as  with  painting— ^/iTie 
touches  are  needed  to  give  it  beauty.  Not  only  the  outline  of 
the  landscape,  but  something  also  of  the  effect  produced  by 
lights,  shadows,  and  colors,  must  be  conveyed  to  the  mind, 
otherwise  the  description  will  be  wanting  in  completeness. 


128  FIRST  BOOK  IN   COMPOSITION. 


SUBJECT    NO.    10. 

A   SUNSET. 

1.  Under  what  circumstances  did  you  observe  the  sunset  ? 

2.  What  was  the  season  ? 

3.  What  kind  of  a  day — clear  or  hazy  ? 

4.  What  was  your  point  of  view  ? 

5.  How  high  was  the  sun  when  you  began  to  watch  its 
progress  ? 

6.  Were  there  any  clouds  in  the  sky  ? 

7.  How  did  these  change  in  shape  and  color  ? 

8.  What  were  the  nearest  features  in  the  view  ? 

9.  Beyond  these,  what  were  seen  ? 

10.  What  were  the  most  distant  points  ? 

11.  How  did  each  of  these  appear  in  the  rays  of  the  setting 
sun? 

12.  Was  there  any  haze  over  the  landscape  ? 

13.  What  was  its  appearance  on  the  most  distant  hills  ? 

14.  What  on  those  next  nearer  ? 

15.  How  was  it  with  the  nearest  ? 

16.  Were  there  any  deep  shadows  to  be  seen  ? 

17.  What  points  were  successively  illuminated  ? 

18.  What  gradual  changes  took  place  as  the  sun  sunk  lower 
and  lower  ? 


FIRST  BOOK  m  COMPOSITION.  129 


TO    THE  PUPIL 


SUBJECT    NO.    10. 


You  may  take  as  your  subject  a  summer  sunset  This  is  a 
glorious  theme  for  a  description.  It  is  a  favorite  with  every 
artist  who  wishes  to  paint  a  beautiful  picture,  on  account  of 
the  brilliance  of  the  sky,  the  glowing  colors  of  the  landscape, 
the  strong  contrasts  of  the  lights  and  shadows,  and  the  haze 
which  fills  the  atmosphere,  giving  such  a  beautiful  softness  to 
every  thing. 

In  studying  a  scene  of  this  kind  for  the  purpose  of  de- 
scribing it,  you  should  observe  the  effect  of  this  haze.  On 
the  most  distant  hills  it  may  be  a  light,  pearly  tint,  hardly 
to  be  distinguished  from  the  sky ;  on  those  next  nearer,  its 
color  will  be  more  decided ;  and  on  the  next,  different  still ; 
while  over  the  nearest  objects,  it  assumes  a  great  variety  of 
beautiful  hues. 

You  should  also  notice  the  effect  of  strong  light  in  changing 
the  appearance  of  objects.  A  little  cluster  of  twigs,  upon 
which  the  rays  of  the  setting  sun  may  strike,  will  look  as  if 
they  had  been  dipped  in  gold ;  and  though  you  may  know 
them  as  they  really  are,  you  must  describe  them  as  they  appear. 

Great  care  must  be  taken  in  the  selection  of  right  descrip' 
live  terms,  for  this  is  as  essential  to  a  fine  description,  as  is  the 
proper  choice  of  colors  to  a  fine  painting. 


130  FIRST  BOOK  IN  COMPOSITION. 


CONCLUSION. 

The  subjects  embraced  in  Division  m.  are  inexhaustible  in 
their  character,  since  by  changing  the  point  of  view  in  each, 
the  subject  itself  is  changed. 

The  pupil  will  thus  find  it  an  excellent  exercise,  to  take 
the  same  subject  two  or  three  times  in  succession,  varying  his 
compositions  according  to  the  scene  selected  for  description. 
In  the  study  of  Nature  he  will  find  an  ample  variety  of  ma- 
terial. 

These  exercises  in  description  are  of  the  highest  impor- 
tance, as  laying  the  foundation  of  all  freshness  and  vividness 
of  style.  The  pupil  should  be  thoroughly  trained  in  them 
before  attempting  any  other  branch  of  composition. 


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PUBLISHED  BY  A.  S.  BARNES  &  CO., 

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]?.  G.  PAREEIj's  SOnOOL  READERS. 

Pakkkk's  First— Second— Third— Fourth,  and 
Jilietorical  Keader. 

ORTHOGRAPHY,  GKAMMAr,  ETC. 
PRirK's  Spelling  Bools — Wkight's  Vnalytical 
Orihotrrapliy — MAiiTix'sOrlh  opi  . — Nonxn- 
ENi/8  Dictation  Exercises— C  vkks  Analysis 
— Clauk's  English  Graniruar  and  Etymo- 
logiea!  Chart— Welch's  English  Sentence  - 
Day's  Art  of  Khetctric. 

EI.OCUTIONARY  WORK8/ 
NoKTiiEND's  Little  Spealvcr — Arnerir-ari  Speaker 
—  School  Dialogues — ZAOHoa'Ne./  American 
Speaker — Paekek'3  and  Zacik   '  Tntroduc- 
toj-y  Lessons. 

wilf.ard's  series  o,  histories. 

WiLLAitn's  History  of  the  Ui  ited  States — llni- 
v(!rsal  History— Historic  Guide — Temple  of 
Time. 

NATIONAL  GEOGRAPHICAL  SERIES. 

MoNTEiTii  s  First  Lessons  in  Oeography. 
Monteith's  Youth's  Manual  of  Geographv. 
McN ally's  System  of  School  G.  igraphy. 

DAVIES^  SYSTEM  OF  MATHEMATICS. 

Table-Book  and  Primary  Arithtuctic  —  Intel- 
lectual }  Ithinetic— Sdiooi  Aritii. — Univer- 
sity Arithmetic — .■.Itinentary  Algebra — Ele- 
mentary Geoinetrv — Practical  Mathematics 
— BoimDON"3  AlgeDra— LegendreV  Geom. — 
Surveying  —  Analytical  Geom.  —  Calculus — 
Des.  Geohi. — Shades,  Shadows,  &c 

6CII00L  AND  COLLEGE  PHILOSOPHIES. 

Parker's  Juvenile  Philosophy,  Parts  1  &  2— 

Parker's  School  Compendium — Bartlett's 

Mechanics— Optics — Astronomy. — Bartlett's 

Analytical  Mechanics. 

INTBJ.LECTUAL  PHILOSOPHY  AND 
MYTHOLOGY. 

Mahax'«  Intellectual  Philosophy — Dwigut'b 
f^     .uan  aud  Roman  Mythology. 


Chambers'  Introduction  to  the  Scienoesr 
ury  of  Knowleslge— Clark's  Drawft 
and  Bain's  Chemistry — IIamiltokI 
oiog^v — CiiAMBEJw' Zoology — Paoe'sj 
— McLntvk;;  on  the  Globe* -r-< 
on  Road-niuking  —  GREGOuy's  Cher 
Cut'Kc.'Hri  C:iiculu3 — Church's  Anal. 
— Courtenay's  Calculu'  -TrAr.KLRY'al 
nometry  — Manual  of  T  -Li 

on  the  Steam  En^ind. 

PENMANSHIP  AND  BOOK-KEEPJ 

Fulton  &  Eastman's  System,  with  the 
graphic  Charts. 

MUSIC  f"OR  riv.ii. 

KiNGSLEv's  Juvenile  Choir— Kingsley'i 
Ijidies'  Harp — ^Sherwood's  Scliool  S*' 
Hymn  Book— Sabbath-ScLool  r.ru:-  ' 
tian  Melodies. 

brooks'  CLASSICS.  i 

Latin  Lessons  —  Greek  Lessons  —  Coll! 
Evangelicii — Ovid. 

THE     ENGLISH     P  O  E  T  S| 
WITH   BOYD' 


Milton's  Paradise  L«>st — Pollok's  Col 
Time  — YouNu's  Night  Thoughts- 
sou 's  Seasons  —  CowVer's  Task,  Ooil 
tion,  &c. 

LIBRARY    OF    REFEHENC] 
FOR   TEACH  EKS. 

Page's  Theory  and  Practice    of  Teacl] 
Northrnd's  Teaclier    and    Parent— T 
FIELD  on  American  Eduoatltm — Dk  To^ 
ville's  American  Institutions — Daviks' 
and  Utility  of  M'athematir? — Watts  o^ 
Improvement  of  the  Mind — Cyclopedi 
Geography— Cyclopedia  of  Ghronology- 
c'opedla  of  Biography — Cyclopedia  of  '" 
A-ts — Cyclopedia   of  Literature   and 
A  i< — Cyclopedia  of  Europe. 


